== ISSUE 165 ====  CONSUMABLE ONLINE  ======== [December 21, 1998]

  Editor:             Bob Gajarsky
                         E-mail: editor@consumableonline.com
  Sr. Correspondents: Daniel Aloi, Joann Ball, Bill Holmes, Tim 
                      Kennedy, Reto Koradi, David Landgren, Tim 
                      Mohr, Al Muzer, Joe Silva, Lang Whitaker 
  Correspondents:     Christina Apeles, Niles J. Baranowski, Tracey 
                      Bleile, Lee Graham Bridges, Jason Cahill, Patrick 
                      Carmosino, Krisjanis Gale, Emma Green, Paul Hanson, 
                      Chris Hill, Eric Hsu, Tim Hulsizer, Franklin 
                      Johnson, Steve Kandell, Robin Lapid, Linda Scott, 
                      Scott Slonaker, Kerwin So, Chelsea Spear, Simon 
                      Speichert, Jon Steltenpohl, Simon West
  Technical Staff:    Chris Candreva, Dave Pirmann

 Address all comments to staff@consumableonline.com ; subscription 
information is given at the end of this issue. 
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	All articles in Consumable remain (C) copyright their author(s). 
Permission for re-publication in any form must be obtained from the 
editor.
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                            .------------.
                            |  Contents  |
                            `------------'
EDITOR'S NOTES For 1998 / Consumable Top 15 for 1998
CONSUMABLE'S STAFFERS TOP 5 FOR 1998
Daniel Aloi - Billy Bragg & Wilco, Knack, Beck, Robbie Fulks, 
   Richard X. Heyman
Christina Apeles - Versus, Belle & Sebastian, Gomez, Creeper Lagoon, 
   Idlewild
Joann Ball - Lauryn Hill, Garbage, Goo Goo Dolls, Church, P.M. Dawn
Niles Baranowski - Add N to X, Mercury Rev, Momus, Creeper Lagoon, 
   Massive Attack
Tracey Bleile - Calexico, Sonichrome, Son Volt, Tim Easton, Massive Attack
Jason Cahill - Bran Van 3000, Beastie Boys, Garbage, Pushmonkey, Afghan 
   Whigs
Bob Gajarsky - Fatboy Slim, Barenaked Ladies, Semisonic, Garbage, 
   Plastiscene
Paul Hanson - Destroyed by Anger, Nadir, Dead Lazlo's Place, Suicide 
   Culture, Substance D
Chris Hill - Autour de Lucie, Tragically Hip, Hooverphonic, Afghan 
   Whigs, Notwist
Bill Holmes - Myracle Brah, Darin, Frank Bango, David Grahame, Mark Bacino
Tim Hulsizer - Figgs, Mercury Rev, Gang Starr, Club 8, Belle & Sebastian
Steve Kandell - Silver Jews, R.E.M., Fugazi, Money Mark, Hard Core Logo
Tim Kennedy - Manic Street Preachers, Embrace, Pulp, Liz Phair, PJ Harvey
David Landgren - Sonic Youth, Rodolphe Burger, Miossec, PJ Harvey, Cake
Tim Mohr - Stereo Total, Poptarts, Miles, Snowpony, Delakota
Al Muzer - Suncatcher, Flat Duo Jets, Willard Grant Conspiracy, Deadbolt, 
   Todd Thibaud
Linda Scott - Jimmy Page & Robert Plant, R.E.M., Band, Lenny Kravitz, 
   Bill Wyman and The Rhythm Kings, _Struttin' Our Stuff_ 
Joe Silva - Squirrel Nut Zippers, Virginia Rodriguez, Lionrock, Tuatara, 
   PJ Harvey
Scott Slonaker - Pearl Jam, Grant Lee Buffalo, Firewater, Semisonic, 
   New Radicals
Kerwin So - Mogwai, Seam, Faye Wong, Hieroglyphics, Tugboat Annie
Chelsea Spear - Neutral Milk Hotel, Bob Mould, Tori Amos, Throwing 
   Muses, Lucinda Williams
Simon West - Massive Attack, Manic Street Preachers, Billy Bragg & 
   Wilco, Pulp, 60 Channels
Lang Whitaker - OutKast, Alana Davis, Lauryn Hill, Goodie Mob, U.N.K.L.E.
---
	Editor's Summary of 1998

	A person who looked solely at the pop charts in 
1998 might wonder why many of the songs they heard on the 
radio - no matter *what* format - weren't on the charts.  
	The answer to that seeming paradox?  Declining 
album sales.
	Several years ago, some industry executives realized 
that when a consumer purchased a single, they would be less 
likely to purchase the same artist's album.  Since a 45 (now 
a cassette-single, or CD maxi-single) generates less profit 
for a label than an album, those same corporations could 
be expected to maximize their profit by squeezing out 
commercial singles - when the bottom line would be seriously 
effected.
	In 1998, the effects of this cutback became more 
evident.
	Decreasing album sales by many of the industry's 
standby artists contributed to a singles chart top-heavy 
which didn't jive - no pun intended - with the songs heard 
on the radio.  And with a decrease in the number of new 
and coming artists in 'traditional', American guitar-rock 
formats, European electronica performers from Mono to 
Fatboy Slim received opportunities which might not have 
been present several years earlier.
	Buyouts and consolidations between major companies 
were confirmed near the end of the year.  While the 
ramifications of these corporate restructurings have yet to 
be determined, we can only hope that 1999's new artists 
will get an opportunity to nurture their craft before being 
thrown to the public, without having honed their skills.
	In the course of this, however, there are some 
artists who have earned our respect for some outstanding 
albums.  We've included a list of our top 15 albums of 1998, 
along with some of our staffers including their own top 5 
list, complete with an explanation of why those albums 
should be in your stocking this holiday season.  
	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 15 of 1998:
1) Garbage, _Version 2.0_ (Almo Sounds)
2) Massive Attack, _Mezzanine_ (Virgin)
3) Lauryn Hill, _The Miseducation of Lauryn Hill_ (Ruffhouse/Columbia)
4) Billy Bragg & Wilco, _Mermaid Ave._ (Elektra)
5) Manic Street Preachers, _This Is My Truth Now Tell Me Yours_ (Epic UK)
6) PJ Harvey, _Is This Desire_ (Island)
7) R.E.M., _Up_ (Warner)
8) Mercury Rev, _Deserter's Songs_ (V2)
9) Belle & Sebastian, _The Boy with the Arab Strap_ (Matador)
10) Fatboy Slim, _You've Come A Long Way Baby_ (Astralwerks)
11) Semisonic, _Feeling Strangely Fine_ (MCA)
12) Pulp, _This Is Hardcore_ (Island)
13) Creeper Lagoon, _I Become Small and Go_ (NickelBag)
14) Afghan Whigs, _1965_ (Columbia)
15) Goo Goo Dolls, _Dizzy Up The Girl_ (Warner)
---
	Top 5 - Daniel Aloi

	1) Billy Bragg & Wilco, _Mermaid Ave._ (Elektra).  Dusting 
off an archive of American folk icon Woody Guthrie's unsung and 
unrecorded lyrics and setting more than 40 of them to music may have 
seemed daunting, but the musicians Guthrie's daughter Nora chose to 
do it  -- a British socialist folkie and America's premier roots-pop 
band -- pull it off with aplomb. Together, Bragg, Wilco and guest 
Natalie Merchant realize and, in some cases, contemporize 15 released 
songs as randy ("Walt Whitman's Niece," "Ingrid Bergman"), rowdy 
("Hoodoo Voodoo") and reflective ("Eisler on the Go," "Birds and Ships") 
as the man who wrote the words. Jeff Tweedy and Jay Bennett of Wilco 
deserve special mention, the former for discovering the achingly 
beautiful love song "California Stars" and the latter for the faraway 
lonesome sound he lends such songs as "One By One."
	2) The Knack, _Zoom_ (Rhino).  What a comeback! The adenoidal 
misogyny of The Knack's early hits like "Good Girls Don't" is gone, 
and the band is back from teen-aged power-pop oblivion with a mature, 
catchy-as-all-hell masterpiece brimming with melody, hooks and 
rock-solid songwriting. Glorious sounding from the opening anthem "Pop 
is Dead" to the zenlike "(All in the) All in All," drummer Terry Bozzio 
and founders Doug Fieger, Barton Averre and Prescott deliver the goods. 
This album should be blasting out of radios everywhere and drowning out 
Hanson. If you like the early stuff -- and, truth be told, this was the 
band I loved to hate back in the late '70s -- then their formative 
years are collected on a Rhino anthology also released in 1998.
	3) Beck, _Mutations_  (DGC).   Yeah, I know, most critics love 
Beck because they're supposed to, so why does he need me tooting his 
horn too? Here's why: This is simply unexpected and all the more 
wonderful for it. The guy's known for taking chances and breaking new 
ground, but none of his albums to date are as rife with risk as this, 
originally set for release through Beck's indie deal with the Bong 
Load label. Half-jokingly referred to by its creator as "a collection 
of dirges and waltzes," it's a set of acoustic blues, folk, and full-on 
rock'n'roll songs sure to please even the most jaded ears. Standout 
tracks include the banana-republic travelogue "Tropicalia," with its 
infectious Latin beat carrying Beck's political commentary,  and the 
self-aware an poetic laments "Dead Melodies" and "Bottle of Blues."
	4) Robbie Fulks, Let's Kill Saturday Night_ (Geffen).  Did I 
say Beck took chances? Well, Robbie Fulks has even bigger cojones. 
After two Bloodshot Records albums filled with classic bluegrass, 
bare-bones roots-rock and folk music set to smartass (and sensitive) 
lyrics, Fulks was lauded as the leading artist in "alternative" country. 
On his major label debut, he pretty much alienates the whole damned 
movement with a more rock-oriented full production (hey, if they give 
you the money, spend it, I say) -- but his songwriting remains top-notch 
-- check out the title track, already adopted by 5 Chinese Brothers for 
their 1997 album, or "She Must Think I Like Poetry" for a bit of that 
old Fulks flavor, and why so many in the industry and the general 
populace simply love him.
	5) Richard X. Heyman, _Cornerstone_ (Permanent Press).  Proof 
that the best pure-pop artists today ply their craft in relative 
obscurity, their work lovingly put out by dedicated independent labels. 
New York City pop visionary Heyman's first album in at least four years 
(his last was on Sire a long time ago) is also his best, and you could 
say it's love songs, nothing but love songs. "Cornerstone," inspired by 
a stroll through the old neighborhood, is a metaphor for lasting love 
that reinforces the 14 songs here (many of them actually about old 
girlfriends) --  "Everything the Same," "Then She Arrives" and "All I 
Have" should be required listening for any couple that wants to beat 
the odds and stay together.
---
	Top 5 - Christina Apeles

	1) Versus, _Ten Cents Plus Tax_(Caroline).  I just couldn't 
get enough of this CD, especially what I consider to be the single of 
my 1998 year, "Crazy-Maker (I'm Still In Love With Your Eyes)," a 
bittersweeet ballad which is Versus' trademark drawn out song on this 
particular album.  Guitar, guitar, guitar and of course, the unique 
voice of Richard Baluyut with Fontaine Toups adding harmonies to songs 
that for the most part, rock.  Seeing them play a tight, vivacious live 
show this year at the Encounter Restaurant at L.A. International airport, 
with planes departing and arriving in the backdrop, sealed their place 
among my favorite bands period.
	2) Belle & Sebastian, _The Boy with the Arab Strap_ (Matador).  
One of the most refreshing releases this year, this band appeals to a 
certain taste in music from the negative reactions of my tasteless 
roommates (strictly on the music front) upon hearing them.  Belle & 
Sebastian have an early European pop sensibility that produces sounds 
that are cheery and light, yet with somber undertones.  You'd have to 
hear them to understand that _The Boy with the Arab Strap_ consists of 
a melange of feelings, musical influences, and storytelling that are 
evocative, therefore memorable.
	3) Gomez, _Bring It On_ (Virgin). The one major label band on 
my list, Gomez' music has a bluesy feel coupled with seventies rock'n'roll 
rhythms.  This release is all about swayin', mainly good feeling tunes, 
generally categorized as Americana using instruments like fuzz guitar, 
tubas and cellos to boot.  I admit I am partial to bands with two mail 
vocalists, especially when their voices are so distinct, generating a 
flavor of melodies that are all the more pleasing.  _Bring It On_ offers 
a collection of charming songs that deserves a listen and then some.
        4) Creeper Lagoon, _I Become Small and Go_ (NickelBag). 
Inspirational and optimistic is how I would term this release.  Everyone 
needs a little positive vibe in their life and I don't know any band 
that can get away with using whistles (you'd otherwise expect in a 
house song) in an indie rock ballad, but Creeper Lagoon does, and then 
you wonder why whistles haven't been used before.  Okay, maybe not, but 
this is that breed of music that you can leave in your CD changer for 
months, if only to let a little sanguine sentiment into your day.
        5) Idlewild, _Captain_ (Deceptive Import).  These hotly-tipped 
Scottish nineteen-year-olds with Husker Du fixations, have the punk 
aesthetic down with agressive, curt melodies merged with weighty guitar 
riffs and yes, a fair share of wailing. Discovered by Steve Lamacq who 
also discovered female rock sensations Elastica, Idlewild are rumored to 
be signed with Capitol USA in the near future. My music journalist 
friend predicts Idlewild is on their way to stardom, and I definitely 
concur.
---
	Top 5 - Joann Ball

	1) Lauryn Hill, _The Miseducation of Lauryn Hill_ 
(Ruffhouse/Columbia).  Lauryn Hill struck out on her own and hit the 
mother lode.  On her debut solo release _The Miseducation of Lauryn 
Hill_, Lady Miss Fugee acknowledges a rich musical past while suggesting 
creative and innovative possibilities for the future of popular music.  
Combining the best elements of R&B, hip-hop, reggae, rock and world beat, 
Hill passionately sings and raps about life, love and happiness.  An 
extremely honest, sincere, and at times deeply personal record, it is 
a fresh and inspiring urban masterpiece which ranks right up there with 
Stevie Wonder's classic "Songs in the Key of Life."  Featuring such 
gems as the reflective "Every Ghetto, Every City" (the 1998 Black female 
version of Wonder's unforgettable "I Wish") and the sassy hit single 
"Doo Wop (That Thing), Hill's record outshines the competition with its 
depth, complexity and brilliance.   Billboard recently named _The 
Miseducation of Lauryn Hill_ the R&B Album of the Year, but I consider 
this wise, passionate and street smart smash the record of the year.
	2) Garbage, _Version 2.0_ (Almo Sounds).  _Version 2.0_. is the 
flawless sophomore release from Garbage, a band which has quickly 
established itself as a progressive tour de force in rock music.  
Singer/songwriter Shirley Manson and her studiofile bandmates Butch 
Vig, Duke Erikson and Steve Marker skillfully enhance the basic guitar, 
bass, keyboards and drums configuration with loops, effects and 
scratching. Finding additional value in the stylings of electronica, 
techno and hip-hop, Garbage incorporates these musical approaches into 
the aggressive, futuristic edge that defines their unique sound.    
Whether delivering homegrown tracks like "When I Grow Up" and ""Dumb," 
interpolating the Beach Boys on the single "Push It," or giving big 
time props to Pretender Chrissie Hynde on "Special," no other band has 
so successfully recycled influences and sounds like Garbage.
	3) Goo Goo Dolls, _Dizzy Up the Girl_ (Warner Bros.).  It took 
a while, but the Goo Goo Dolls have finally arrived.  After a decade 
of slogging it out in the alternative rock trenches, the Goo Goo Dolls 
broke through in a big way this year with "Iris" from the _City of 
Angels_ soundtrack.  Carrying that song and its success over to _Dizzy 
Up the Girl_ (album number six ), the band keeps the momentum going 
with the catchy upbeat pop of "Slide."  The essence of the band remains 
intact on this record, particularly in singer/songwriter and guitarist 
John Rzeznik's slice of life account "Broadway" and on all of the songs 
contributed by bassist Robby Takac.  More than either of the radio 
singles, it's these album cuts which provide undeniable proof that the 
Goo Goo Dolls are the rightful heirs to The Replacements.
	4) The Church, _Hologram of Baal_ (Thirsty Ear).  In a recent 
interview with Consumable Online, guitarist Peter Koppes described The 
Church's sound as "progressive music for music aficionados [who] like 
the exotic and esoteric and like intelligent pop."  That's the only way 
to describe _Hologram of Baal_, the band's eleventh release.  The Church 
once again soars to magnificent heights on this record, especially on 
the soothing lead single "Louisiana," the rock solid "No Certainty 
Attached," and the ethereal "Anaesthesia."  And for a sonic journey of 
epic proportions, get lost in _Bastard Universe_ the limited edition 
bonus disc included with the first 5,000 copies of the release.
	5) P.M. Dawn, _Dearest Christian I'm So Very Sorry For Bringing 
You Here Love Dad_ (Gee Street/V2).  P.M. Dawn's fourth record, _Dearest 
Christian, I'm So Very Sorry For Bringing You Here, Love, Dad_, was 
released just weeks ago, but it is definitely one of the best records 
of 1998.  On this soon-to-be classic, Prince Be explores the highs and 
lows of being a father in a messed up world and finds meaning in his 
own life in the process.  On this concept album of _Pet Sounds_ 
proportions, Prince Be and J.C./The Eternal make full use of the studio 
to produce a clear, rich and layered sound that emphasizes live 
instruments and lush orchestration. This time around, P.M. Dawn 
incorporate creative samples into the songs instead of letting borrowed 
sounds drive the melodies, and Prince Be showcases his sweet, soulful 
voice by singing rather than rapping most of the deeply insightful 
lyrics.  P.M. Dawn take their musical bliss to an even higher level on 
all 13 of the songs here.  From the beautifully tender title track (and 
first single), to the rock infused "Art Deco Halos" and "Hale-Bopp 
Regurgitations," this record is filled with passion and emotion making 
_Dearest Christian..._ a musical experience for 1998 and beyond.
---
	Top 5 - Niles Baranowski

	1) Add N to X, _On the Wires of Our Nerves_ (Mute).  The 
only truly visceral thrill I got from music this year came from this 
record.  Despite the complete lack of guitars, it rocked harder than 
any AOR band.  Despite the limitations of human drummers (from such 
acts as Stereolab and High Llamas), its beats were faster and sharper 
than the electronic competition.  Neglected singles like "The Black 
Regent" and "Orgy of Bubastus" are the next logical step beyond Devo, 
retro-futurist pop that sneaks in a little chaos.  Elsewhere, the trio 
(who put on a curiously violent live show) reach a new high in analog 
synths with the 7-minute "Murmur One."  Will I recognize the sound I 
want when I hear it? I think I already have.
	2) Mercury Rev, _Deserter's Songs_ (V2).  America really doesn't 
have much in the way of intelligent, accessible balladeering like The 
Verve or Bernard Butler but Buffalo, NY's Mercury Rev seems to be out to 
start the tradition.  Granted, they're still a bit too weird to be 
American Britpop but _Deserter's Songs_ is a delight to hear, grand, 
sweeping and eccentrically charming.  Their weirdness finally serves 
their songs, rather than vice versa.  If "Goddess On a Hiway" doesn't 
become the breakout hit of the year, there is no justice.
	3) Momus, _Ping Pong_ (Le Grand Magistery) "Please put on your 
avatar masks, our game is underway" advises Nick Currie (alias Momus) 
at the start of _Ping Pong_.  Indeed, the album is all about strange 
characters acting as even stranger ones; Japanese housewives that want 
to become rock'n'roll casualties, sexually repressed salarymen who call 
out in a dark subway, even Momus's own "Pervert Doppelganger," who 
steals his girlfriend with his debauchery.  There is no character on 
the modern pop music scene like Momus, because he acknowledges his 
pervert doppleganger and gives him equal time.  His music is at its 
best when its shallowest, which may be why he why he gets labeled as 
"disco" sometimes.  He's most memorable when busting out a Pet Shop 
Boys beat or seething jealous threats against...small babies.
	4) Creeper Lagoon, _I Become Small and Go_ (Nickelbag).  The 
rainy day record of 1998, _I Become Small and Go_ shows the San 
Francisco group coming into their own as indie rock's One to Watch.  
More fully developed than the Elephant 6 camp, Creeper Lagoon make 
psychedelic pop that swirls its influences (allegedly as diverse as 
hip-hop and Latin music) into gorgeous, lazy songs that sound neither 
twee or lifeless.  The best tracks combine shoegazer attitude with pop 
songcraft into a seamless new beast that will be fully showcased to the 
masses on next year's Dreamworks debut.
	5) Massive Attack, _Mezzanine_ (Virgin).  I'm sure I'm not the 
first to ask the question, but what was all of this guitar doing here?  
"Angel" starts out with nothing but a nice calm beat, something that 
anyone could appreciate, then it wallops you with a blast of distortion 
like something straight out of Nirvana's "Bleach."  Everyone's favorite 
Bristol collective were at it again this year, confounding expectations 
like always but they were darker and more concrete than ever. No, this 
was no _Blue Lines_, but these days trip-hop has become trip-pop, so 
what is an antisocial DJ collective to do?  Sample the Velvet Underground 
and Cure (the Rhythm & Goth-fest "Man Next Door")?  Enlist ex-Cocteau 
Twins waif Liz Fraser for two momentously pretty tunes to sate the 
faithful ("Teardrop" and "Black Milk")?  Or just make noise as they did 
on "Angel"?  _Mezzanine_ is a vital and varied 'yes' to all of the above.
---
	Top 5 - Tracey Bleile

	1) Calexico, _The Black Light_ (Quarterstick).  Call it what you 
will, garage mariachi, lo-fi Tex-Mex, cowboy lounge - or any other 
crazy-quilt name you want; it's the street party soundtrack of a 
multi-hued dreamland. Vibes, accordions, violins, a wealth of trumpets, 
thunder drums and every kind of guitar you could ever want (heck, they 
even sing a little bit this time); it's all here.  From eerie 
maracas-thumpy bass-weirdo space noises and a faraway trumpet on "Fake 
Fur" to genuine-article "paso doble" stomp of "Minas De Cobre (for 
better metal)", this is the final answer to the cliche, "it can't be 
explained, it can only be experienced".  Giant Sand alumni Joey Burns 
and John Convertino plus many special guests have outdone themselves on 
this second go-round.  You can't call this sophomore or an effort; this 
is what geniuses who live in the desert do for fun when the sun goes down.
	2) Sonichrome, _Breathe The Daylight_ (Capitol).  This is 
deceptively simple, breathlessly charming, strongly presented pop without 
a trace of cutesyness or fakery.  This disc will give you a crush so bad 
you'll think puppy love was bearable.   From thoroughly modern buzzy 
gems like the high-speed opener "Overconfident" to the soaring and 
oh-so-tremulous "There Was 2", _Breathe_ made my year.  Unfortunately, 
it's been one seriously overlooked release.  Final thoughts: pop this 
one in the CD player in the car this winter, and you won't need to turn 
the heat on.
	3) Son Volt, _Wide Swing Tremolo_ (Warner).  Strong return to 
form with some decidedly welcome experimentation from the lyrically 
cryptic but emotionally wide-open (at least in the music, anyway) Jay 
Farrar and his tighter and ever more visible bandmates.  The album 
definitely feels like they've sealed their bond with glowing, rollicking 
songs like "Medicine Hat" and "Driving The View" and enigmatic moments 
of confusion and enlightenment (just a little poet-envy) on "Flow" and 
"Streets That Time Walks".  They're super-tight without sounding mannered 
or overdone; the results of having rehearsal and recording space all 
rolled up in one and the luxury of time to work things out, try new 
things and let their efforts speak for themselves.
	4) Tim Easton, _Special 20_ (Heathen).  There's always one sneaky 
one that shows up late and hangs around for good; I discovered this disc 
only a few weeks ago, but it's been on steady rotation ever since.  Late 
of the roots rock combo The Haynes Boys, Easton makes solid bluesy 
countryfied toothsome rock 'n roll (yes, all at once!).  From the 4-track 
recording-amp in the bathroom-improvised drum rumpus of "Just Like Home" 
which leaps effortlessly to a big garage beat in "Torture Comes To Mind", 
this album snaps you out across a big ol' dance floor and then pulls you 
back close with a some swingers and some slow ones ("Help Me Find My 
Space Girl", and the quietly tragic "Everywhere is Somewhere).   Slipping 
under the wire at just over 30-some minutes, _Special 20_ leaves you 
restlessly tapping yer feet for more.
	5) Massive Attack, _Mezzanine_ (Virgin).  Deep, dark lush ambient 
grooves.  Samples and beats and hypnotic vocals that remind you forcefully 
why this studio and team of musicians are named as they are; a veritable 
musical tsunami that rolls up, breaks over you and washes you out to an 
alternate plane.  My superlative cup runneth over with purple prose for 
the studio genius of Massive Attack.  The silky vocals of Liz Fraser 
(Cocteau Twins) on the eastern-spiced "Teardrop" are framed with the 
relentless tribal hammer on "Risingson" and "Inertia Creeps".  Get some 
headphones on and be somewhere else instantaneously.
---
	Top 5 - Jason Cahill

	1) Bran Van 3000, _Glee_ (Capitol). In a year devoid of anything 
that smacked of originality and innovation, Bran Van 3000 came out of 
nowhere and produced what was easily the best, most eclectic and diverse 
album of the year.  Glee manages to adeptly blend together hip-hop, 
bubble-gum pop, techno and disco, not to mention the occasional bit of 
country western thrown in for good measure.  "Couch Surfer" and "Drinking 
In L.A." are eerily reminiscent of Beck, with their slacker vocals and 
heavy production.  "Forest" and "Afrodiziak" are true to form hip-hop 
songs with savvy lyrics and a refreshing lack of stale samples.  "Old 
School" is a fun homage to The Sugar Hill Gang and "Exactly Like Me" is 
a perfectly crafted pop song.  The album even includes an all-girl cover 
of "Cum On Feel The Noize".  Nuff said.
	2) Beastie Boys, _Hello Nasty_ (Grand Royal / Capitol).  With the 
release of _Hello Nasty_, the Beastie Boys have come full circle, 
reverting back to the old school New York sound which got things started 
for them back in the mid-eighties.  But while the multi-platinum _Licensed 
To Ill_ is a hip-hop classic despite its occasional bursts of immaturity, 
_Hello Nasty_ is an instant classic because of its maturity of sound, 
production and lyrical flavor.
	3) Garbage, _Version 2.0_ (Almo Sounds).  With most bands, more 
of the same isn't necessarily a good thing.  Garbage, however, are not 
most bands.  While _Version 2.0_ is little more than a continuation of 
their self-titled debut album, it still remains a finely crafted, smartly 
produced effort and one of the year's best.
	4) Pushmonkey, _Pushmonkey_ (Arista).  Pushmonkey is the band 
Matchbox 20 wishes they could be.  Edgy, inventive, distinctive and 
anything but repetitive.  This self-titled debut from Austin's Pushmonkey 
is everything a debut should be, complete with varying styles and 
intricate song structures, with not a throwaway in the bunch.  This 
surprisingly mature effort is filled with everything from hard-edged 
rockers ("Lefty", "Ashtray Red"), which take their cues from bands like 
Rage Against The Machine, to dark, brooding songs with finely crafted 
melodies ("Cut The Cord", "Handslide").  The lyrics are just a bit 
confusing and nonsensical, but you can't have everything.
	5) Afghan Whigs, _1965_ (Columbia).  _1965_ has the band's 
trademark sound with an additional New Orleans flavor.  At times moody 
and brooding, at others blistering and raw.  Not quite as memorable as 
_Gentleman_, but sharp and smartly produced just the same.  A good sign 
that after thirteen years together, Afghan Whigs are still in top form.
---
	Top 5 - Bob Gajarsky

	1) Fatboy Slim, _You've Come a Long Way, Baby_ (Astralwerks/Skint).  
He's part Housemartin, Pizzaman, but Norman Cook has finally found a home 
with his new alias, Fatboy Slim.  The beats don't stop, as "Praise You", 
"Gangster Trippin'" and the irresistible surf-guitar meeting hip-hop 
"Rockefeller Skank" proved. 
	2) Barenaked Ladies, _Stunt_ (Reprise).  If you hated the Ladies 
before, _Stunt_ won't convert you.  But if you purchased _Gordon_, and 
wondered where the fun went on subsequent BNL releases, here's the answer. 
The group even go power-pop on "It's All Been Done".
	3) Semisonic, _Feeling Strangely Fine_ (MCA).  Not radically 
different from previous work as Semisonic or Trip Shakespeare, _Feeling_ 
had that magical element - a hit single, "Closing Time" - which became an 
anthem at bars around the country.  True power-pop for the 90s.
	4) Garbage, _Version 2.0_ (Almo).  A commercial disappointment, a 
critical success.  Manson and Vig venture further than on the debut, 
without the benefit of radio kissing their feet.  To their credit, 
Garbage stay two steps ahead of the numerous copycat bands.
	5) Plastiscene, _Seeing Stars_ (Mojo/Universal).  If Oasis and 
Blur met the Stones, the results could be quite similar to this California 
band's debut.  Unfortunately, even with an appearance on the _Baseketball_ 
soundtrack (or maybe because of?), airplay for a Brit-sounding band was 
scarce.  The Dandy Warhols have experienced the same effects.
---
	Top 5 - Paul Hanson

	1) Destroyed by Anger, _Destroyed By Anger_ (Vulture). Energetic, 
catchy, yet heavy, riffs. Thought-provoking and intelligent lyrics. 
Destroyed By Anger avoidsd cliches and have produced a monster record.
	2) Nadir, _Rust_ (Self-Released).  Based in New Zealand. I like 
the blend of Pantera and Crowbar in their style. There is also hints of 
Alice in Chains for an 'alterny' feel. Yet when the vocalist says, 
"Fuck you," you know he's serious.
	3) Dead Lazlo's Place, _Lonely Street_ (New Red Archives).  I 
listened to a lot of punk this year, a lot of it excellent. No matter 
how excellent the other releases were (or weren't in Rancid's case), I 
keep coming back to the no frills, no flashy musicianship of DLP. I 
think 5 years from now this disc will be getting the same number of 
spins it gets now, which is a lot.
	4) Suicide Culture, _Suicide Culture_ (Self-Released).  Call it 
what you will. I got this disc and hadn't taken it out of my disc player 
two weeks later.  I'm not certain whether this band will be able to 
break into the mass mainstream market but if talent and songwriting are 
the determining factor, this band should be a household word in a couple 
of years. I like the trio environment, which lets the three musicians 
play off each other.
	5) Substance D, _Black_ (F.A.D. Records).  Along with labelmates 
Pissing Razors, Substance D is part of a new breed of metal. The heavy 
metal here is stifling, mind-boggling and amazing, wrapped up into one. 
The band’s talent is immediately noted on the first listen. I can listen 
to this forever and pick up something new each time.
---
	Top 5 - Chris Hill 

	1) Autour de Lucie, _Immobile_ (Nettwerk).  Maybe I'll 
dust off my French dictionary someday, and translate Valerie 
Leulliot's lyrics, but I doubt it.  The few words I do recognize 
catch my attention like cinnamon/pumpkin perfume, before they 
fade back into an encompassing, foreign mystery that makes every 
listen an enchanting experience.  Recommended as a soundtrack 
when you want that "Cary Grant/Grace Kelly, speeding along the 
French Riviera, balmy summer day" pop music feeling.
	2) Tragically Hip, _Phantom Power_ (Sire).  Viewing a 
Dali painting, prolonged attention reveals hidden details. 
Gordon Downie's lyrics are no different.  He blends multiple 
images and metaphors into songs that reveal themselves one layer 
a listen, backed by music that, seven studio albums on, still 
evolves and surprises.  The sweet afterglow of "Bobcaygeon" is 
the sound of love set to music.  The other eleven songs are just 
icing on the cake.
	3) Hooverphonic, _Blue Wonder Power Milk_ (Epic). Music 
for admirers of Frank Lloyd Wright or Ayn Rand's Howard Roark: 
towering lines, crisp corners, clean presentation.  The waifish, 
delicate voice of Geike Arnaert delivers surrealist lines like 
"micro liquid feelings will never solve/pacific problems/exotic 
fish will never be able to walk/as long as we live" with runway 
poise.  The strings only add to the splendor - in "Battersea", 
there's a Gorecki quality that strokes my cheek with love.  That 
love is returned.
	4) Afghan Whigs, _1965_ (Columbia).  Should albums earn 
your respect over time?  Should albums that set their hooks with 
one song be spurned as too easy?  _1965_ is a tramp AND a lady - 
the first half jumps into bed without conversation, the second 
wants commitment - and I love 'em both shamelessly.  A brilliant 
fusion of funky soul, lusty guitars, soaring background vocals, 
and trouser snake lyrics.
	5) Notwist, _Shrink_ (Zero Hour).  Jazz collides into 
electronica to form a roly-poly, sugary-sweet Stay Puft man with 
enough menace behind the marshmallowy goodness to nudge the 
rating to PG.  Markus Acher's German accent tinges his vocals 
with vulnerability, while the music sounds simultaneously modern 
and retro, for an atmosphere of pure beat poet cool, filtered 
through caffeinated synthesizers and gin-soaked strings.  
Lullabies and theme songs for the modern age.
---
	Top 5 - Bill Holmes

	1) Myracle Brah, _Life On Planet Eartsnop_ (Not Lame).  While 
killing time waiting for the Love Nut record to get released, Andy Bopp 
poured his pop heart out into a tape recorder. THANK GOD FOR THAT DELAY! 
Suffice it to say that if you have ANY love for classic sixties pop music 
in your heart, Myracle Brah's Life On Planet Eartsnop will blow you away. 
Beatles, Badfinger, Kinks, Bubblegum - this is an astounding effort that 
deserves a place alongside the records that influenced it.
	2) Darin, _Solitarium_ (Copper).  Yet another winner for Copper 
Records, this time featuring a jack-of-all-trades performing a Something / 
Anything for the 90s. You can see where the influences shine through, but 
this is by no means a copycat exercise.
	3) Frank Bango, _Fugitive Girls_ (Not Lame).  Like Grahame's 
record, this opens and closes with a theme song, and in-between there is 
pure magic. Bango's voice is reminiscent of Elvis Costello, but the 
instrumentation, vocals, smart wordplay (big props to lyricist Richy 
Vesecky) and arrangements immerse you in Bangoland in a heartbeat. A 
wonderfully vibrant and varied song cycle that takes some chances and 
scores big.
	4) David Grahame, _Toy Plane_ (Dog Turner).  There will be those 
who make the mistake of dismissing Grahame as just another poser aping 
The Fab One. To them my answer is this - Paul McCartney hasn't written 
songs as good as  "Steady Thing", "Everyday", "Each First Kiss" and 
"We're Past All That" (another lyrical gem) since his first solo album. 
A stunning work of art.
	5) Mark Bacino, _Pop Job_ (Parasol).  Summer and girls and love 
and broken hearts - It's impossible to listen to this without smiling, 
let alone singing along. Like a long lost slab of classic vinyl, _Pop 
Job_ is eleven sweet hit singles gathered for your enjoyment. Perfect 
at twenty-seven minutes.
---
	Top 5 - Tim Hulsizer

	1) The Figgs, _Couldn't Get High_ (Au Go Go).  Having parted 
ways with Capitol Records, The Figgs go the indie route once more and 
put out perhaps their finest work to date.  I suppose making this album 
my number one pick of 1998 will immediately cause the International 
Society of Music Critics to collectively scratch their heads and cut up 
my union card, but to hell with all of that.  The disc clocks in at 
barely over 30 minutes, the tunes are catchy beyond belief, and this is 
the only album that consistently held my ear and demanded dozens of 
listens over the course of '98.  I haven't had this much fun in a long 
time.
	2) Mercury Rev, _Deserter's Songs_ (V2).  If you're familiar 
with their older work, you hear about a new album and immediately have 
a certain set of expectations in your head. Then the band goes and 
shatters every single one of them.  This disc is lush, beautiful, and 
spaced-out in just the right way.  Production is the weapon here, and 
Mercury Rev wields it in just the right way.  Dense without 
claustrophobia, and experimental without losing the plot, this album 
deserves any praise I can heap upon it.
	3) Gang Starr, _Moment of Truth_ (Noo Trybe).  It could be 
argued that it doesn't matter if you're working within a formula, as 
long as you can do amazing things within that formula.  Gang Starr has 
always been one of the tightest rap acts around, and they seem at the 
top of their game here.  Guru's rhymes are smooth and intelligent, and 
Premier's turntable skills cannot be questioned.  This is just too good 
to miss.
	4) Club 8, _The Friend I Once Had_ (March).  While not the 
most innovative album ever made, I can't help but love this one.  It's 
pure pop perfection from Scandinavia, with insanely catchy tunes and 
great lyrics about the usual topics (love mostly).  The production is 
clean and sober, without a trace of irony. Give this a shot when the 
angst and distortion start to take their toll.
	5) Belle & Sebastian, _The Boy With the Arab Strap_ (Matador).  
I admit it's a crime that this narrowly beat out Tricky's latest 
offering, but that's life.  Belle & Sebastian haven't lost a step 
here, favoring the clean pop sound I crave, and never shying away from 
poetry. In 1998's commercial atmosphere of spite and stupidity, I'd 
have to say that's a fairly revolutionary concept.  Their live show's 
not too shabby either.
---
	Top 5 - Steve Kandell

	1) Silver Jews, _American Water_ (Drag City).  David Berman 
reunites with Pavement's Stephen Malkmus on this, the third and best 
Silver Jews album.  The music is country-tinged and low-key, but what 
that sets this record apart are Berman's brilliant lyrics and deadpan 
delivery.  "In 1984 I was hospitalized for approaching perfection / 
Slowly screwing my way across Europe, they had to make a correction."  
That's the very first line on the album, and it gets better.
	2) R.E.M., _Up_ (Warner).  And just when I was ready to give 
up on them.  Advance word was not promising, as rumors of drum loops 
and synthesizers indicated that the recovering jangle-guitar band would 
the latest casualty of the techno bandwagon.  Words like 'abstract' and 
'inaccessible' were bandied around, almost like warnings to the faithful 
to lower expectations.  But don't believe the hype.  The album is packed 
with beautifully constructed songs that would not have sounded terribly 
out of place on any R.E.M. album in the past decade.  Rather that 
attempt to replace departed drummer Bill Berry, the band simply wrote 
lush pop songs that didn't need drums.  Memo to the WB suits: "Hope" 
should have been the single.
	3) Fugazi, _End Hits_ (Dischord).  Punk rock for grown-ups.
	4) Money Mark, _Push the Button_ (Mo' Wax).  In this, the year 
of the Beasties, it was actually their keyboardist who put out the more 
interesting album.  An eclectic mix of jazzy instrumentals and the best 
Elvis Costello songs since Blood and Chocolate, this record shows more 
variety and talent than some artists display over the course of an 
entire career.
	5) Hard Core Logo (Soundtrack/Movie) (Velvel). This Canadian 
mockumentary chronicling a punk band's ill-fated reunion tour sounds 
on paper like Spinal Tap for the SST set, and indeed there 
are a few explicit references to Rob Reiner's quintessential rock satire. 
But this visually imaginative film is decidedly less over-the-top, and 
despite its comic tone, features one of the most devastating endings 
seen in a long time anywhere.  The sell-out-or-not-to-sell-out question 
drives the central conflict, but the movie's really about four aging 
friends who drive across the country in a van to play punk rock for 
drunken Canucks because they want to.  If that sounds like I'm 
trivializing matters, I'm not.   It's fucking beautiful.
---
	Top 5 - Tim Kennedy

	1) Manic Street Preachers, _This Is My Truth Now Tell Me Yours_ 
(Epic UK).   Now the premier UK rock band. Nicky Wire makes this his first 
complete lyric set,  pondering on the nature of history,  socialist 
dialectics and housework.  Sean and James have set his words to an epic 
70s prog rock score.  An album of great musical merit,  which shows the 
band that once set out to destroy rock and roll instead embrace its most 
flamboyant era.
	2) Embrace, _The Good Will Out_ (Geffen).  Vying with the best 
of Oasis's balladeering,  Embrace sing loud,  sound profound,  and nothing 
is spared in the production department.  With the ex-Take That Robbie 
Williams trying to corner the market in piano balladry,  this album sees 
off such amateur opposition.
	3) Pulp, _This Is Hardcore_ (Island).  Grim but compelling.  A 
man who has looked in the dead eye of celebrity lifestyle tells how it is. 
Like Roxy Music after a particularly bad trip or some of Bowie's grimmest 
late 70s moments,  but with Jarvis' unique lyrical commentary.
	4) Liz Phair, _Whitechocolatespaceegg_ (Capitol).  Liz has 
changed quite a bit,  but she retains her healthy cynicism - even about 
being 'alternative'.  Great tunes,  and the usual sexy, quirky vocals.
	5) PJ Harvey, _Is This Desire_ (Island). Polly Harvey sings like 
Siouxsie Sioux might had she been brought up in the Delta. Here the 
musical backing is more understated than in her live act, but the chill 
wind of Polly's imagination blows through these sophisticated yet still 
blues-based soundscapes.
---
	Top 5 - David Landgren

	1) Sonic Youth, _A Thousand Leaves_ (Geffen).  "Hoarfrost", 
"Hits of Sunshine" and "Wildflower Soul" are some of the finest songs 
written anywhere, by anybody, anytime. I'm just still seriously 
aggravated that their gig in Paris sold out before I bought tickets. 
Still getting a lot of play at home.
	2) Rodolphe Burger, _Meteor Show_ (Chrysalis - Import).  I've 
been living in France for close on a decade, and it's my view that some 
really exceptional talent is finally starting to make itself heard. Two 
amazing covers of Jagger/Richards and Hendrix along with a lot of guitar 
work somewhere between Cure and The Church.
	3) Miossec, _A prendre_ (Play it again Sam - Import). It's like 
your favourite underground artist finally gets enough money to get a 
decent production... and goes on to employ it to his best advantage. A 
writer from the Springsteen school of urgency circa _Born To Run_, this 
is the third album from Miossec. For anyone who likes their guitars dry.
	4) PJ Harvey, _Is this desire?_ (Island).  It took me a while to 
appreciate Polly Jean. This is certainly the album I wished she had 
always made. Flood's production is without peer.
	5) Cake, _Prolonging The Magic_ (Capricorn).  I still haven't 
made up my mind about all of this album, but "You turn the screws" is 
such a delicious piece of pop, perhaps the finest single this year, that 
it's keeping me going until I figure out whether I like the rest of the 
album.
---
	Top 5 - Tim Mohr

	1) Stereo Total, _Juke-Box-Alarm_ (Bungalow/Bobsled US).  This 
album is the blueprint for the next generation of music.  Stereo Total 
completely ignore the tired distinctions between rock and dance and 
between guitars and computers. Instead they create a mix of vintage 
Euro-trash (Brigitte Bardot, Jacques Dutronc), good-natured punk 
(Undertones, Ramones), and buzzing electro (Mouse on Mars, Renegade 
Soundwave), and top the whole thing with female vocals in French, 
German, and English. Record of the year.
	2) Poptarts, _Woman Is The Fuhrer Of The World_ (Bungalow - 
Import).  Their early seven-inchers made them the Beastie Boys' favorite 
new band and led to a support slot for the girls on the Boys' German 
tour. The formula: super lo-fi girlie odes to radios, driving fast, 
and boys. Similar to Helen Love, better than Bis.
	3) Miles, _The Day I Vanished_ (V2 - Import).  Miles successfully 
manage to strike a difficult balance--thick, loud guitars off-set by 
perfect vocal harmonies. Their music evokes memories of classic pop 
moments (think Ride, Boo Radleys, Fountains of Wayne), and exceeds 
anything of the sort from England this year.
	4) Snowpony, _The Slow-Motion World Of Snowpony_ (Radioactive). 
Everything here is somehow off-kilter: skipped beats, slide guitars 
played over sample-based backgrounds, wierd noises sneaking up on 
plaintive female vocal lines, etc. Like Stereo Total, Snowpony intend 
not to cross musical genre lines but to transcend them.
	5) Delakota, _One Love_ (Go Beat Import). Back to Madchester: 
baggy beats and pop hooks that reunite the strands of contemporary music 
the way the Happy Mondays and Primal Scream did a decade ago. The bass 
line in "C'mon Cincinnati" is so catchy that it feels as if you've 
developed a nervous tick.
---
	Top 5 - Al Muzer

	1) Suncatcher, _The Girl That God Forgot_ (Restless). Great 
sweeping statements, Doug Hammond's emotive vocals, a raw, dense guitar 
sound, semi-profound lyrics and the timeless feel of The Left Banke's 
classic catalog coupled with the gutsy pop minimalism of Dreams So Real 
best stuff. "Trouble" draws tears every time while "Trippin'" is The 
Band's "Chest Fever" turned inside out.
	2) Flat Duo Jets, _Lucky Eye_ (Outpost).  Blues-informed, 
hillbilly-fueled, moonshine-runnin', grunt 'n' grease guitar and drum 
caterwaul that marries a Santo & Johnny-like instrumental subtlety, an 
unobtrusive (but effective) horn section, a swingin' bassist and a lush, 
12-piece string section to gruff, soulful, rough-hewn minimalism and 
Brylcream-billy back-ally blasts of classic retro-roots.
	3) Willard Grant Conspiracy, _Flying Low_  (SlowRiver).  
Wrist-slitting, tears in yer whisky, 3 a.m. 'what if?' and 'if only' 
belly-button contemplating brilliance that is Sparklehorse at the end 
of the world and Nick Cave's tragic best multiplied by seven.
	4) Deadbolt, _Zulu Death Mask_ (Headhunter-Cargo).  A twisted, 
freakishly-hallucinogenic, surf-twang and tremolo safari in the darkest 
reaches of the Congo ("Dr. Zombie I presume?") that features the severed 
heads of 'smelly, dirty hippies'; a crazed monster named "Watongo"; 
attacking alligators; the eerie "Swahili Bob"; somebody (but not Jimmy) 
buried in "Jimmie's Grave"; a brief appearance from Elvis; the murderous 
"Jackals of Botswana"; an evil lesbian who's "Gone Gongwipdu"; a vengeful 
witchdoctor's ghost named Macombo; the deadly return of a deranged, 
out-of-control clown known as "Patches"; and the insane German oompaa 
of "October in Zimbabwe." 
	5) Todd Thibaud, _Favorite Waste Of Time_ (DooLittle).  Warm, 
witty, classic-sounding, instantly catchy, commercially accessible, Toad 
(The Wet Sprocket)-worthy, Jacob Dylan-esque sing-along anthem rawk that 
boasts more hooks than Freedy Johnston's last two records, the gentle 
sweep of Matthew Sweet's finest work and a broader 'every man' appeal 
than Johnny Cougar's biggest hits.  Not a bad track on the thing - 
"Wintercoat" takes four minutes to bring you to the same place it took 
the Cowboy Junkies' entire first album to arrive at.
---
        Top 5 - Linda Scott

	1) Jimmy Page & Robert Plant, _Walking Into Clarksdale_ 
(Atlantic). 1998 releases mostly leave us looking forward to 1999.  A 
big exception comes from the masters, Jimmy Page and Robert Plant.  
_Walking Into Clarksdale_ is a jewel whose tracks sound even better 
live.
	2) R.E.M., _Up_ (Warner). Their first album as a trio (having 
lost the services of drummer Bill Berry) sees the band experimenting 
with new sonic vistas.  The album is best heard as a unit requiring 
reflection and quiet listening to the melancholy tracks and 
R.E.M.-literary lyrics.  The first single is "Daysleeper" but the next 
is a real crap shoot - not an album that lends itself well to singles 
listening.
	3) The Band, _Jubilation_ (River North). The mighty band that 
produced _Music From Big Pink_ thirty years ago returns with an 
anniversary celebration of themselves and their music.  Three original 
members, three new members, and thirteen guests (including Clapton and 
Hiatt) present some wonderful music.  Beautiful, sophisticated melodies 
and timeless lyrics give _Jubilation_ its staying power.
	4) Lenny Kravitz, _5_ (Virgin).  On his fifth album, Lenny 
Kravitz takes a step away from the retro rock music he usually sends to 
us and adds some electronica to new styles such as hip hop.  Don't worry, 
Lenny is just testing the waters here with some loops and overdubs, so 
_5_ is vintage Kravitz with new sophistication.  "Fly Away" is a popular 
single on the charts now, and it looks like Kravitz is going gently 
in a more modern direction.
	5) Bill Wyman and The Rhythm Kings, _Struttin' Our Stuff_ 
(Velvel).  Ex-Rolling Stones bassist, Bill Wyman, put together this 
debut album with such polish and flair that it deserves a listen.  
_Struttin' Our Stuff_ highlights blues, R&B, and jazz styles dating 
back to the twenties with enough modern infusion to capture this year's 
listeners.  Covers range from Howlin' Wolf and Willie Mabon to Creedence 
Clearwater Revival.  The Rhythm Kings supply the modern magic along with 
guests Eric Clapton, Peter Frampton, Bobby Keys, and many others.
---
	Top 5 - Joe Silva
 
	1) Squirrel Nut Zippers, _Perennial Favorites_ (Mammoth).  Now 
that they nabbed enough clout to get further airplay, they've done what 
all smart musicians do - grown slightly past their known parameters with 
little regard for their label's bottom line. "Low Down Man" shows that 
all that road work didn't dull their songwriting skills, while "Ghost 
of Stephen Foster" shows that they probably couldn't get any musically 
tighter. But the "The Kraken" displays that they're not so overly 
concerned with their ultra-hep status to play around a bit within 
their element.
	2) Virginia Rodriguez, _Sol Negro_ (Rykodisc).  If her voice is 
derigueur in her native Brazil, it is wholly angelic when viewed from 
our turf. Against the odd and spacey vibrations of the berimbau in the 
opener ("Negrume da Noite"), her pipes are equally and wonderfully 
atmospheric. Never mind the other heavys that chime in (Gilberto Gil, 
Milton Nascimento), when she stands completely bare of instrumentation, 
as she does in "Veronica," any interlopers are inevitably forced to 
acknowledge her tremendous talent.
	3) Lionrock, _City Delirious_ (Time Bomb/Concrete/BMG).  With a 
few mild exceptions, this hasn't been a hallmark year for the big market 
electronic artiste. The French have snatched a good bit of the wind out 
of other peoples sails (Air, Dmitri From Paris), but Lionrock's Justin 
Robertson is one of the Empire's best hopes for a rally in '99. He does 
a rapturous ska revival ("Rude Boy Rock"), retro-techno ("Push Button 
Cocktail"), and minimalist ambience ("Best Foot Forward") equally well. 
14 cuts of salvation for any Saturday night. 
	4) Tuatara, _Trading With The Enemy_ (Epic).  Forget the Peter 
Buck aspect. That only becomes relevant when he takes these sounds back 
to his day job. What these errant rockers have conjured in their spare 
time is 12 vignettes that are tres savvy about dynamics and development.
Their pan-global view of blending instruments does nothing but help 
further the sonic dimensions and create pieces that are ultimately down 
by law. 
	5) PJ Harvey, _Is This Desire?_ (Island).  While she might not 
feel quite as elegantly disordered as she did on her last outing, she is 
no less committed to her passion for drama. Musically as layered as 
she's ever been, Polly Jean still enjoys flirting with down home slide 
guitars and simple song structure. When she rocks ("The Sky Lit Up"), 
she's still desperate and convincing. Overall it's compelling stuff and 
heads above whoever you might hazard to call a peer, but what she'll do 
for an encore is what eats at you the most.
---
	Top 5 - Scott Slonaker

	1) Pearl Jam, _Yield_ (Epic). 1998, much like 1997, 
seemed more like a year of memorable singles than memorable 
albums, with the additional lack of an _OK Computer_-style 
opus that could capture hearts and minds.  But I can't 
classify 1998 as a bad year, either, because a lot of good, 
solid records came out.  _Yield_ is one of those, a 
refreshing return to form for a band that had seemingly lost 
its way with the aimless, mediocre mud of _No Code_.  While 
the album doesn't quite reach the pinnacle of _Vs._, it comes 
close with the anthemics of "Given to Fly" and "In Hiding", 
and the gentle sway of "Low Light" and "Wishlist".  Welcome 
back to the light, boys.
	2) Grant Lee Buffalo, _Jubilee_ (Slash-Warner Bros.). 
Losing bassist and producer Paul Kimble not only did not stop 
Grant Lee Buffalo, but somehow inspired the best album of 
the group's career.  Singer Grant Lee Phillips' Diamond-like 
croon and gorgeous Wilsonesque falsetto has never sounded 
better than on "Truly, Truly", "Change Your Tune", and 
"Testimony".  A variety of guests such as Robyn Hitchcock, 
Jon Brion, and E, along with new producer Paul Fox, keep 
_Jubilee_ both varied (a problem with past albums) and 
consistent.  No other band on this planet is capable of 
sounding so simultaneously ethereal and rustic as Grant Lee 
Buffalo.  Phenomenal.
	3) Firewater, _The Ponzi Scheme_ (Jetset; rereleased 
on Cherry/Universal). Like the Pogues, Firewater are a rowdy 
"bunch of alcoholics with a music problem" (singer Tod A.) 
that mix rough-hewn rock with ethnic flavor.  And, like the 
Pogues' _If I Should Fall From Grace With God_,  _The Ponzi 
Scheme_ is chock-full. "Green Light", "I Still Love You, 
Judas" and "So Long, Superman" *will* leave a mark.
	4) Semisonic, _Feeling Strangely Fine_ (MCA). Since 
1996's _Great Divide_ was so criminally overlooked, Semisonic 
figured it wouldn't be necessary to change much on their 
next effort.  The result, predictably enough - another tuneful 
gem.  "Singing in My Sleep" is perhaps the best song Dan 
Wilson has ever written, and the hit "Closing Time" managed 
to make it without compromising the band's vintage '70s 
Raspberries/Badfinger ethic.
	5) New Radicals, _Maybe You've Been Brainwashed Too_ 
(MCA).  First introducted to my ears through the luxurious, 
breathtaking single "You Get What You Give", this debut album 
doesn't sound like one.  The New Radicals' main man, Gregg 
Alexander, can sound like a lot like Tim Booth or a little 
like Axl Rose, but his thoughtful, intricate, piano-heavy 
lamentations are almost always stirring.  Here's to more of 
from this highly promising act.
---
	Top 5 - Kerwin So

	1) Mogwai, _Kicking a Dead Pig + Mogwai Fear Satan Remixes_ 
(Jet Set).  The vanguard of the new Scottish music scene, Mogwai, 
have acquired a reputation for expanding the boundaries of conventional 
rock by molding minimalist arrangements into new forms both accessible 
and emotional.  Taking their vision a step further, Mogwai enlisted the 
help of a stable of currently hot producers (including Alec Empire, 
Third Eye Foundation, and the perennially MIA Kevin Shields) to remix 
a choice catalog of their 'hits.'  The results somehow manage to 
maintain the spirit of the originals - futuristic, pensive, simmering 
with tension - while creating new moods all their own.  Highlights 
include Kid Loco's brilliant dancing-on-the-moon reworking of "Tracy" 
and the remixes of "Mogwai Fear Satan" by My Bloody Valentine's Kevin 
Shields and the band itself - truly breathtaking, beautiful stuff.  
Bonus:  this release is actually a double-CD package sold for the price 
of one.
	2) Seam, _The Pace is Glacial_ (Touch & Go).  1998 was a 
comeback year of sorts in the tiny little world of indie rock.  Among 
the heroes returning to the stage were Blake Schwarzenbach (ex- of 
Jawbreaker, current Jets to Brazil frontman) and emocore founding 
fathers Sunny Day Real Estate.  Unfortunately, not much attention was 
given to the return of indie rock veterans Seam with their first album 
in over three years, _The Pace is Glacial_ -  and that's a shame.  For 
years, Seam has built a small but intensely loyal following by way of 
songs that build and shudder, not through power-chord hacks and throaty 
shouts, but elegantly layered songwriting and intense whispers.  _The 
Pace is Glacial_ adds 11 new songs to singer-songwriter Sooyoung Park's 
canon of modern rock masterpieces, and is as good an introduction to 
the band as you might find.  See if you don't catch yourself picking 
up their other records too.
	3) Faye Wong, _Sing & Play_ (EMI Import). Hong Kong's reigning 
queen of Cantopop has returned with a surprisingly versatile and 
enjoyable new album on EMI, this time singing in Mandarin.  You won't 
find any stereotypically overwrought ballads here - Faye Wong's vocal 
talents (backed by superb production from John Lin, John Tang, and 
Tommy Chui) justify her international superstar status. (You may also 
remember Faye from her role in Wong Kar-Wai's 1994 movie Chungking 
Express.)  While I couldn't really tell you exactly what she's singing 
about, Faye's pipes (easily handling parts alternately whispery and 
operatic) coaxed me into feeling what she was feeling through a set of 
tunes containing everything from tasteful piano and guitar textures to 
murky trip-hop beats.  Think of Faye Wong as Hong Kong's equivalent to 
the Cocteau Twins (with whom Faye is good friends) or Bjork - not 
difficult, considering the cover shot on the new CD. While there is no 
English written on the cover for _Sing & Play_, you should still be 
able to find this album in the international pop section of your local 
record store or just by asking around.  It's well worth a bit of 
investigation, particularly since _Sing & Play_ also contains a bonus 
disc with three remix tracks. 
	4)  Hieroglyphics, _Third Eye Vision_ (Hieroglyphics Imperium).  
"Let's see how many rappers can go the length!" challenge the nine-man 
rhyming crew Hieroglyphics from Oakland, California on their debut album  
_Third Eye Vision_.  It seems that all too many hip-hop and rap records 
these days bog down once you get past the hit radio single, but The 
Hieros rock the mic strong for over 70 minutes through an unthinkable 
22 tracks.  The single, "You Never Knew," is already an unabashed hit on 
college radio stations nationwide ('World renowned, we ground breakin'), 
but this whole record is a testament to the creativity and vibrancy of 
the underground hip-hop movement in general and the Bay Area in particular 
(notwithstanding the current hoopla surrounding turntablism and DJ-specific 
productions).  The Hieroglyphics' mastery of lyrical flow and bumpin 
production skills back up the numerous testaments to their own prowess:  
'If ya ain't got a skill or trade, then shut the hell up!'  Give this 
record a spin and see if it doesn't make you shout, "It's like that and 
uh, the Hieroglyphics yeah!"  If you can't find it in your local record 
store, order _Third Eye Vision_ from the Hieroglyphics' official website, 
http://www.hieroglyphics.com .
	5) Tugboat Annie, _Separation Songs EP_ (Big Top).  If there were 
such a thing as emo-grunge, Tugboat Annie's latest 5-song EP _Separation 
Songs_ would be it.  Now before you hit the scroll down button, let me 
just say this:  a soaring guitar crunch.  Grippingly powerful and raspy 
vocals.  Catchy-sweet guitar lines that stick in your heart and in your 
head.  A friend buried a dub of this EP at the end of a tape he made 
me - I found myself rewinding it and listening to it over and over.  
Don't condemn yourself to my fate: buy it on CD for yourself. Think of 
Tugboat Annie as Buffalo Tom gone overboard.  _Separation Songs_ is 
great driving music, great rainy day music, and a fitting soundtrack to 
those times you swear you are going out of your mind.  
---
	Top 5 - Chelsea Spear

	1) Neutral Milk Hotel, _In the Aeroplane Over the Sea_ (Merge).  
That a line on this remarkable record goes "the music and medicine you 
needed for comforting" is quite prophetic, for the spiritual noise 
created by this otherworldy ensemble could well cure cancer.  No one 
expected a band whose lineup suggests a fusion of heart-on-sleeve 
folkiness and the tarnished brass filigree of the Salvation Army 
Marching Band to take off so incendiarily, but passion overrides any 
doubts carried by such a musical format.  Milk-man Jeff Mangum 
suggests the aesthetic offspring of a union between Mary Margaret O'Hara 
and Tom Rapp, making music so pure that you don't just hear it with 
your ears, but absorb it with your pores.
	2) Bob Mould, _The Last Dog and Pony Show_ (Rykodisc).  On his 
last go-round as an electric rocker, punk's founding father Mould voices 
his dissatisfaction with the purist punk scene that spawned him with 
brevity and articulation, putting his angry thoughts about being left 
in the cold to cathartic, melodic pop nuggets. Fans of Mould's previous 
work with the passionate power pop trio Sugar might not find much 
deviation from form, but the real reason to listen to LDAPS is for the 
beauty that Mould finds in such rage.
	3) Tori Amos, _From The Choirgirl Hotel_ (Atlantic).  After 
surviving a miscarriage, the faerie spawn of Joni Mitchell and Patti 
Smith turned to her piano to bring the spirit of her dead daughter 
back to her.  The album derives a great amount of beauty from Amos's 
baroque sense of melody, as well as her spiritual and sexual drive.  
However, she must also be saluted for trying a different take on her 
confessional, acoustic approach by bringing in some elements of 
electronic, which shade the album with the pulse-racing urgency of a 
Formula 1 race.  Kudos, Tori.
	4) Throwing Muses, _In A Doghouse_ (Throwing Music/Rykodisc).  
Not strictly a reissue, this unique pair of discs blends the first two 
official releases of this scintillating cult band with previously 
unreleased demo tapes of the band's childhood years, and some 
newly-recorded versions of old songs.  If you've never heard the 
Muses -- an influential band of the college-rock mid-80s --  or are 
looking for music that's visceral, emotional, and real, this is as 
good a place as any to start.  Their potent, cathartic blend of 
beautiful, snaking melodies and uneasy mood has its roots in this 
collection of songs.
	5) Lucinda Williams, _Car Wheels on a Gravel Road_ (Mercury).  
After a five-year absence from "the scene", Williams returns to the 
fore with an energetic, intelligent collection of songs that should 
appeal to most anyone with an ear for energy, melody and heart.  Her 
cut-to-the-chase, no-bullshit approach  is evinced in spades here, and 
her gift for melding a well-observed truth to an imminently hummable 
tune and appealing rhythm should make this one of the best albums of 
the decade.  If Carson McCullers ever picked up a guitar, the end result 
would sound something like this album.
---
	Top 5 - Simon West

	1) Massive Attack, _Mezzanine_ (Virgin).  Bristol's finest 
follow-up 1994's _Protection_ with a dark masterpiece, as ominous as 
the huge insect on the cover. The mood is bleak, uneasy and downbeat, 
and absolutely compelling. The beats are slow, crashing and burning as 
rumbling, ominous bass crawls and writhes around menacing guitar riffs 
and metallic samples. Essentials include Horace Andy's tortured, 
lovesick wail on the throbbing, paranoid "Angel", and Liz Fraser's 
ethereal vocals on the astonishing "Teardrop". Massive Attack continue 
to stand without peers.
	2) Manic Street Preachers, _This Is My Truth Tell Me Yours_ (Epic 
UK).  Faced with the impossible challenge of following up their remarkable 
1996 comeback/breakthrough  _Everything Must Go_, the Manics stop just 
short of the classic mark of their last two albums, but an excellent 
album regardless. Accurately described by Nicky Wire as "the album with 
the most sense of purity and most sense of beauty", _This Is My Truth_ is 
slow, lavishly produced and still as affecting as everything else they've 
ever released. North American audiences can discover the truth for 
themselves - Virgin has scheduled _This Is My Truth_ for a spring release 
in the US and Canada.
	3) Billy Bragg & Wilco, _Mermaid Avenue_ (Elektra).  A masterful 
tribute to Woody Guthrie, _Mermaid Avenue_ saw Bragg and Wilco supplying 
new music to previously unreleased Guthrie compositions. The Bard Of 
Barking was born to sing Guthrie, and makes these songs as much Billy 
as Woody. Wilco provide fine backing, and Jeff Tweedy's voice adds 
variety to the proceedings, particularly on the slow "California Stars" 
and the light-hearted "Hoodoo Voodoo". The standout is Bragg, backed by 
Natalie Merchant on "Way Over Yonder In The Minor Key". "Ain't nobody 
that can sing like me", sings Bill. Damn right.
	4) Pulp, _This Is Hardcore_ (Island).  Whoops - party over. 
Cocker and company returned to the fray with a world-weary, demanding 
album. _This Is Hardcore_ may have alienated recent Pulp converts more 
used to the singalong of "Common People", but those prepared to make the 
effort were amply rewarded. Jarvis Cocker's wit and observational skill 
are just as sharp as ever, the title track is absolutely astonishing, 
and the mood brightens somewhat toward the end with the upbeat pop of 
"Glory Days" and the hopeful "Day After The Revolution".
	5) 60 Channels, _Tuned In...Turned On_ (World Domination). One of 
two full length releases involving DJ/producer/composer/singer The Angel 
in 1998 - 60 Channels is a masterful blend of trip-hop, big beat, jazz, 
funk, rap, dub and drum-n-bass into a cohesive, compelling soundscape. 
Real instrumentation mixes with samples and breakbeats, with The Angel 
and assorted guest vocalists providing the vox. An astonishing talent on 
an essential album. Check out also the more jazz-influenced Jaz Klash 
project on _Thru The Haze_, also on World Domination.
---
	Top 5 - Lang Whitaker

	1) OutKast, _Aquemini_ (LaFace).  When OutKast dropped 
_Aquemini_ to very little advance publicity, critics, fans and artists 
alike were all shocked at the beauty of it all. But should they have 
been? Atlanta natives OutKast had already put out two well-received 
records that had established them as one of the south's most important 
voices. So why was _Aquemini_ so surprising? Because it's hands down the 
most progressive, innovative, memorable and above all else cool hip-hop 
album of 1998. Dre and Big Boi have gone from playas to princes.
	2) Alana Davis, _Blame It On Me_ (Elektra).  Even if _Blame 
It On Me_ weren't Alana Davis's debut record, it would be a great record. 
But the fact that it is her first album makes it even more stunning. 
Mixing acoustic guitars with sparkling pianos and rich bass, Davis creates 
a sumptuous, jazzy base over which she lounges her smoky alto. Her cover 
of Ani DiFranco's "32 Flavors" made a slight dent on alternative radio, 
angering DiFranco fans upset that someone was able make a DiFranco song 
sound melodic. Singing her folky songs of promise and joy, Alana Davis 
may make your head nod and your toe tap, but her voice will break your 
heart.
	3) Lauryn Hill, _The Miseducation of Lauryn Hill_ 
(Ruffhouse/Columbia). Suffrage may be over, but still nobody thought 
a woman would produce the best R&B record of 1998 -- and not only produce 
but write, arrange and perform too. Temporarily loosed from the 
constraints of Wyclef and Pras, her Fugee bandmates, Hill steps out and 
steps up. As she bounces from rap ("Lost Ones") to soul ("Nothing Really 
Matters") to flamenco ("For Zion") to doo-wop ("That Thing"), Hill's 
booming voice demonstrates enough versatility to take the point out of 
Celine Dion's chin.
	4) Goodie Mob, _Still Standing_ (LaFace).  With Public Enemy, 
KRS-One and Ice-T fading away, will the conscience of rap music die? 
Who will play the sheriff of hip-hop if it becomes a soulless, heartless 
town? Don't look now, but Goodie Mob has already started pinning on 
their badges. These four rhymers with diverging personalities (Khujo, 
T-Mo, Cee-Lo, and Big Gipp) hail from the ATL, and team with OutKast to 
give LaFace Records the best one-two punch in hip-hop. _Still Standing_, 
the Mob's second album, gives them a building block to lift them to 
OutKast-like standards for their next release.
	5) U.N.K.L.E., _Psyence Fiction_ (London/MoWax). You know 
you're cool when you use sample a song from your own record. 
London/MoWax Records head James Lavelle teams up with American DJ 
Shadow to sculpt an album that mixes jazz, rock, classical, rap, 
electronica and pop. Various luminaries turn up (Thom Yorke, Mike D., 
Richard Ashcroft) to provide vocals, and Shadow demonstrates remarkable 
skill as a songcrafter, able to beautifully weave together disparity 
into harmony.
---

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