== ISSUE 197 ====  CONSUMABLE ONLINE  ======== [December 17, 1999]

  Editor:             Bob Gajarsky
                         E-mail: editor@consumableonline.com
  Managing Editor:    Lang Whitaker
  Sr. Correspondents: Daniel Aloi, Joann Ball, Bill Holmes, Tim 
                      Kennedy, Al Muzer, Joe Silva 
  Correspondents:     Michelle Aguilar, Christina Apeles, Niles J. 
                      Baranowski, Mike Bederka, Jason 
                      Cahill, Matthew Carlin, Patrick Carmosino, John 
                      Davidson, Andrew Duncan, Krisjanis Gale, Paul 
                      Hanson, Chris Hill, Eric Hsu, Scott Hudson,   
                      Steve Kandell, Reto Koradi, Robin Lapid, Wes 
                      Long, I.K. MacLeod, Wilson Neate, Mike Pfeiffer, 
                      Linda Scott, Don Share, Scott Slonaker, Kerwin So, 
                      Chelsea Spear, Jon Steltenpohl, Michael Van Gorden, 
                      Simon West
  Technical Staff:    Chris Candreva, David Landgren, Dave Pirmann

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	All articles in Consumable remain (C) copyright their author(s). 
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                            .------------.
                            |  Contents  |
                            `------------'
	CONSUMABLE'S TOP 5 ALBUMS Of 1999

Wilco, _Summerteeth_ (Reprise)
Beck, _Midnite Vultures_ (DGC)
Jason Falkner, _Can You Still Feel?_ (Elektra)
Nine Inch Nails, _The Fragile_ (Interscope)
Flaming Lips, _The Soft Bulletin_ (Warner)


	WRITER'S INDIVIDUAL TOP 5 LISTS

Michelle Aguilar - T.W. Walsh, Guided By Voices, April March, Moby, 
   Belle and Sebastian
Dan Aloi - Wilco, Chris Cacavas & Junkyard Love, Van Morrison, Fountains 
  of Wayne, Grand Drive
Christina Apeles - Gomez, Flaming Lips, Beck, Dot Allison, Superchunk
Joann Ball - Randi Driscoll, Sally Taylor, Skunk Anansie, Jact, Pretenders
Jason Cahill - Rage Against The Machine, Nine Inch Nails, Sleater-Kinney, 
   Beck, Fiona Apple
Matt Carlin - Pavement, Fantomas, Flaming Lips, Handsome Boy Modeling 
   School, Nine Inch Nails
John Davidson - Wilco, Guided By Voices, Gomez, Jason Falkner, Sloan
Andrew Duncan - Mr. Bungle, Old Time Relijun, Blur, Boom Boom 
   Satellites, Nine Inch Nails
Bob Gajarsky - Shack, Robbie Williams, Freestylers, Smash Mouth, Pet 
   Shop Boys
Chris Hill - Wheat, Lullaby for the Working Class, Mogwai, Godspeed You 
   Black Emperor!,Sparklehorse
Bill Holmes - Gigolo Aunts, Bent Scepters, Cherry Twister, Wilco, 
   Walter Clevenger and the Dairy Kings
Scott Hudson - Chris Cornell, Jason Falkner, Taxiride, Stone Temple 
   Pilots, Zen Mafia
Steve Kandell - Beulah, Tom Waits, Superchunk, Built To Spill, Flaming Lips
Wes Long - XTC, Ben Folds Five, Jason Falkner, Fountains of Wayne, Negro 
   Problem
Wilson Neate - Gorky's Zygotic Mynci, Everything But The Girl, Atari 
   Teenage Riot, Marc Almond, Lo-Fidelity Allstars
Linda Scott - Sting, Tom Petty and the Heartbreakers, Nine Inch Nails, 
   Counting Crows, Crosby Stills Nash and Young
Don Share - XTC, Super Furry Animals, Robyn Hitchcock, Gorky's Zygotic 
   Mynci, Jason Falkner
Scott Slonaker - Matthew Sweet, Beck, Wilco, Moby, Macy Gray
Kerwin So - Jimmy Eat World, Papa M, Reach The Rock, Godspeed You Black 
   Emperor!, Juno
Lang Whitaker - Rob Swift, Beck, Goodie Mob, Roots, Ibraham Ferrer
---
	Top 5 - Michelle Aguilar

	1) T.W. Walsh, _How We Spend Our Days (Made In Mexico). A 
late entry dark horse contender that only came out in November but 
broadsided its way into my heart. Although T.W. Walsh's _How We 
Spend Our Days_ comes from a young man still in his twenties, it 
sounds like the rambling, unadorned thoughts of a middle-aged Franz 
Kafka character; a quiet Everyman whose latent fears and insecurities 
are surfacing with the passage of years. The direct honesty and 
beautifully melancholy melodies here had me humming these songs 
absently, long after the disc went back into the jewel case. 
	2) Guided By Voices, _Do The Collapse_ (TVT). An indie pop 
thoroughbred that many GBV fans were initially tempted to stall in 
the paddock. Under the stewardship of producer Ric Ocasek who somehow 
managed the trick of sounding both lush and thin at the same time, 
GBV achieved the same feat. They sound bigger and more realized than 
ever before on _Do The Collapse,_ without completely sacrificing the 
naively thin sound that won them fans in the first place. One need 
only hear the opening track, "Teenage FBI" to hear the sound of success.
	3) April March, _Chrominance Decoder_ (Mammoth).  Ok, this is 
really not for everyone. For starters, most of it's in French. But 
this blissfully straight-faced sendup of Francoise Hardy-style '60s 
ye-ye Euro-pop is dead-on historically accurate at capturing the 
French '60s obsession with indiscriminate assimilation of American 
traditions ranging from Burt Bacharach to rock and roll, to cocktail 
jazz and Brill Building bubblegum. Meanwhile, April March (really 
American Elinor Blake, ex-Pussywillows and former Ren and Stimpy 
illustrator) sounds like if she had only been alive at the right time, 
she would have been duking it out with Brigitte Bardot to dangle on 
Serge Gainsbourg's arm. 
	4) Moby, _Play_ (V2). Like the Beastie Boys' trilogy, _Paul's 
Boutique,_ _Check Your Head_ and _Ill Communication,_ this album has 
many tracks that feel like meanderings. It is an album of starts and 
stops, entrances and exits. But like the Beasties, you can't help but 
want to Moby around on those meanderings. Utterly mindless, but the 
best dance hybrid of the year. As much fun as Moby appears to be having 
on the album cover.
	5) Belle and Sebastian, _Tiger Milk_.  Soon after the 
band released this album, Belle and Sebastian decided it hated the 
songs so much, they destroyed all remaining copies they could find. 
But they couldn't find them all, lucky for us B&S junkies. This album 
is more of the cheeky-but-pretty boy angst that I love them for.
---
	Top 5 - Dan Aloi

	1. Wilco, _Summerteeth_ (Reprise).  For all 
that they are - an American band in their first truly 
collaborative effort - and all that they are not. As 
in not afraid to explore new musical territory and 
challenge their fans' expectations, and not the great 
white hope of roots-rock/alt-country those fans wanted 
them to remain. Uncle Tupelo is dead, folks. Get over 
it.  An occasional folk guitar or banjo part aside, 
Wilco's third album casts them as a pop band -- and one 
with a psychological dark side. A Beach Boys-inspired 
layered production and endless-summer vibe permeates the 
album, but it's only stark sunshine and metalflake paint 
throwing Jeff Tweedy's decidedly demented lyrics into 
relief. It's the feel-good bummer album of the year, 
with songs more than hinting at murder, domestic and 
substance abuse, and suicide. Keyboard/guitar player 
Jay Bennett channels the Beatles with backwards tape 
loops, Elvis Costello in "Pieholden Suite," and, with 
Tweedy singing  "My Darling," a wasted John Lennon at 
the piano. Overall, _Summerteeth_ is so compelling you'll 
listen again and again, and not just to spot the musical 
references.
	2. Chris Cacavas & Junkyard Love, _Dwarf Star_ 
(Innerstate). When he sings a love song to his guitar, 
he's an angelic sibling to Neil Young. He covers Matthew 
Sweet ("Someone to Pull the Trigger") and he likes 
rock'n'roll and Lyle Lovett ("I Like Lyle Lovett"). And 
his good taste extends to the rest of this sweet-sounding 
album, no pun intended. A onetime member of California 
country-rockers Green on Red,  after that band folded Cacavas 
moved to Europe and released records there for some time. Now 
back in the States with his first domestic solo release in 
years, and with his sensitivity and devotion to seeking some 
pure emotional truth with a song, _Dwarf Star_ should raise 
Cacavas' cult status considerably.
	3. Van Morrison, _Back on Top_ (Virgin).  
Self-important curmudgeon or Celtic saint? Whatever your 
opinion of Van Morrison, he has never failed to deliver 
one excellent album after another. Like a handful of 
other great 20th-century singers -- Frank Sinatra, Tony 
Bennett, Billie Holiday, Nina Simone -- he provides a 
benchmark of quality others are measured against. The 
title is an indication -- this is a return to early-'70s 
form as a set of spiritual and romantic ballads, carried 
by his soulful voice and inspired by classic gospel and 
R&B. It comes just in time to reassert his status, after 
a series of live albums, anthologies covering his work from 
Them to recent outtakes, and jazz recordings with Georgie 
Fame. Anyone put off by such subtle perceptions that the 
man is slipping can feel confident again that they're 
getting the Van they fell in love with, and in love to.
	4. Fountains of Wayne, _Utopia Parkway_ (Atlantic).
A concept album -- remember them? -- all about growing 
up in suburbia, and living for the occasional escape from 
boredom among the cookie-cutter cul-de-sacs. Full of a '70s 
AM-radio vibe but firmly set in a never-never-land of the 
'80s, _Utopia Parkway_ recalls, quite literally, the heady 
days of piling into a car to hit the mall or go to a Laser 
Floyd show, and pining away, contemplating doing anything -- 
even getting a tattoo -- to impress a girl. While the songs 
come mostly from Chris Collingwood and Adam Schlesinger's 
experiences of growing up in western Massachusetts and the 
greater New York/tri-state area, almost anyone can relate. 
And the album is a hell of a lot more fun than you might 
remember your own teen-age years being. 
	5. Grand Drive, _Road Music_ (Loose Recordings U.K.). 
All the way from England comes this slice of apple-pie 
Americana. Sweetly melodic and evocative, the songs of brothers 
Danny and Julian Wilson are unassuming but powerful, mournful 
but uplifting. Loaded with gospel piano and organ fills, 
acoustic and electric alt-country guitar parts and soaring 
harmonies, there are plenty of tasty sonic reference points 
for fans of The Basement Tapes, or the '90s works of Wilco, 
Son Volt and The Jayhawks. But rather than being merely 
derivative, Grand Drive excels with real songcraft, from the 
opening bars of "Tell It Like It Is" through the rest of _Road 
Music_'s 11 original songs. 
---
		Top 5  - Christina Apeles
 
	1) Gomez, _Liquid Skin_ (Virgin).  Once again Gomez releases 
an extraordinary album that is textured, dense in orchestration and 
rich in verse.  This band is sure to have a long lifes-pan on the 
music scene as they continue to experiment and develop their bluesy 
sound with such passion, you can't help getting wrapped up in the 
layered guitars, multiple vocalists and inventive musical arrangements.
	2) Flaming Lips, _The Soft Bulletin_ (Warner).  Frontman Wayne 
Coyne is a musical genius, enough said. 
	3) Beck, _Midnite Vultures_ (DGC).  There is no better party 
favor than this in the jukebox.  For an artist who continually 
reinvents himself with every album, Beck once again takes the best 
of what came before, adds his quirky lyrics packed full of pop culture 
references, and produces an album that is just downright funky.  
Culling grooves from Kraftwerk to Prince, Tom Tom Club to Funkadelic, 
_Midnite Vultures_ proves that Beck knows how to get down and boogie. 
	4) Dot Allison, _ Afterglow_ (Arista).  Somewhere between 
Stina Dordenstam and Julee Cruise you'll find the exquisite voice of 
Dot Allison, former vocalist of trance outfit One Dove.  Collaborating 
on different tracks with the innovative talents of Kevin Shields of My 
Bloody Valentine, Mani of Primal Scream/Stone Roses and newcomers 
Death in Vegas, Allison's debut album takes her listeners through an 
imaginative musical journey teeming with intrigue, a scenery of 
arousing beats, escorted by vocals that are both angelic and erotic.
	5) Superchunk, _Come Pick Me Up_ (Merge).  It is not because 
they are indie pop veterans, or the fact that they put on remarkable 
live shows, or even because bassist Laura Ballance was fun to 
interview, that _Come Pick Me Up_ is one of my favorite releases 
for 1999.  If you had a year and a half nephew turn to face you while 
Superchunk was playing and smiling, starts to bouncing his head to 
the music, how could you not think the album is great?
---
	Top 5 - Joann Ball

	1)  Randi Driscoll, _Climb_ (East River Records). On her 
superior debut _Climb_, Southern California-based singer/songwriter 
Randi Driscoll brilliantly captures the passion, power and purpose of 
music.  The heart and soul of _Climb_ is "What Matters," a moving 
tribute to hate crime victim Matthew Shepard that was recently 
spotlighted in Rolling Stone Magazine.  On "What Matters," which is 
now the official song of The Matthew Shepard Foundation, Driscoll 
sings with conviction about the value and importance of unconditional 
love.  And on the other eleven tracks, she similarly captures the 
essence of the human spirit and expresses it through her inspired 
melodic piano playing and amazingly rich and crystal clear vocals that 
is the basis of her adult acoustic pop-rock sound.  Among the standout 
songs on this excellent collection are the simple piano and strings 
arrangement of record opener "Paper Hearts," the mid-tempo "Who I Am" 
which celebrates the joys of true love and "Drive Me Home" a seductive 
number that is convincing in its surrender to temptation.  Without a 
doubt, _Climb_ has all the elements that could make it this generation's 
_Tapestry_ and could move just as many listeners.  
	2)  Sally Taylor, _Tomboy Bride_ (Blue Elbow).  Sally Taylor 
is an extremely talented singer/songwriter who rejuvenates and updates 
acoustic guitar folk-rock.  On her stellar debut _Tomboy Bride_, the 
Boulder, Colorado based Taylor sings of the determination needed to 
follow dreams on "Alone," laments love lost on "The Complaint," and 
celebrates self-confidence and independence on the bouncy "Happy Now." 
And Taylor suggests with the beautiful "Sign of Rain," a song that 
brings to life the sounds and images of Martha's Vineyard at 
Christmastime, that she is definitely a rising star in her own right.  
	3)  Skunk Anansie, _Post Orgasmic Chill_ (Virgin).  Why Skunk 
Anansie, one of this decade's best British musical offerings, still 
flies below the radar in the U.S. is one of popular music's great 
mysteries.  Not only does the band kick out an extremely potent blend 
of punk-inspired rock, but extraordinary lead singer Skin infuses her 
amazing vocal range with a level of intensity that is simply unmatched 
by her contemporaries.  Once again on _Post Orgasmic Chill_, Skunk 
Anansie delivers the goods with characteristic style and present it 
in a superbly polished package.  The complex signature changes of the 
aggro-charged lead track "Charlie Big Potato," as well as the aching, 
emotion-filled "Tracy's Flaw" and the simply perfect, radio-friendly 
melodic rock of "Lately" and "Secretly" are just four of the twelve 
reasons why _Post Orgasmic Chill_ is an experience that shouldn't be 
missed.
	4)  Jact, _Jact_ (Trauma Records).  Whether you call it 
post-Britpop or Britpop the next generation, Jact has a patent on the 
musical ingredients that make the formula work.  Under a moniker that 
is slang for amped, excited and ready to go, ex-Pusherman Andy Frank 
injects his gritty slice-of-life lyrics with smoky pub-worn vocals over 
Ted Hutt's sizzling guitar licks.  With a solid rhythm section in bassist 
Jeff Peters and drummer E.J. Eiriksson, Jact captures the glitter and 
sex of seventies glam on "Magic #3" while displaying fine acoustic 
sensibilities on the mortality tale "Losing More Than Heaven."  And 
midway through the 13-track release, Jact deliver a winning triple 
power play with the shimmering guitar numbers "Future's Gone," "Starred 
in This Film Before" and "Barricades."  On their self-titled debut 
_Jact_, the Los Angeles-based quartet of Brits Frank, Hutt and Peters 
and Canadian Eiriksson prove that quality Britpop for the new millennium 
can indeed be produced Stateside. The added bonus here is that it's even 
more filling and with less bickering than the brand imported from 
Manchester.
	5)  Pretenders, _Viva El Amor_ (Warner Bros.).  On _Viva El 
Amor_, the Pretenders proudly showcase the essence of pop-rock that 
will land the band in the Rock and Roll Hall of Fame in a few years.  
Twenty years into it, Chrissie Hynde is definitely a legend in her 
own time and she still has that special tough and tender vocal touch. 
And the band is in top form with expert drummer Martin Chambers, 
talented guitarist Adam Seymour and rock solid bassist Andy Hobson 
complementing Hynde's underrated rhythm guitar work which rounds out 
the Pretenders' signature melodic sound. Driven by songs like "Human" 
(which should have been the lead American single), the Swinging London 
buzz of "Popstar," the rabble-rousing "Legalise Me," and the touchingly 
sincere "From the Heart Down," the Pretender's seventh studio effort is 
a testament to the fact that they really don't make 'em like they used to!
---
	Top 5 - Jason Cahill
 
	1) Rage Against The Machine, _The Battle Of Los Angeles_ 
(Epic).  Every now and then, a band releases an album that borders on 
perfection and although it doesn't quite get there, it comes pretty 
damn close.  _The Battle Of Los Angeles_ is such an album.  It rocks 
with a fury from start to finish and is absolutely relentless in both 
its pace and it's message.  In fact, in an album full of highlights and 
masterful moments, the one thing which manages to stand out from the 
rest is the exceptional guitar work of Tom Morello.  On _The Battle Of 
Los Angeles_ Morello manages to distinguish himself as one of modern 
rock's premiere guitarists, deserving of being placed in the company 
of the elite, for he does so much more than just set the album's pace. 
He uses his guitar to create an entire universe of sounds, pulses and 
rhythms and when all is said and done, it's hard not to realize that 
Morello's instrument is the heart of the record, the foundation upon 
which everything rests.  The word which best describes _The Battle Of 
Los Angeles_ is relentless. In fact, there isn't a moment on the album 
where the energy subsides long enough for you to catch your breath, 
wipe your brow, and pick your jaw up off the floor.  It's that good. 
	2) Nine Inch Nails, _The Fragile_ (Interscope).  The release 
of the new Nine Inch Nails album was, perhaps, the most eagerly 
anticipated release in the past five years. After all, it had been 
that long since the release of _The Downward Spiral_, one of the 
definitive albums of the 90's and an album that made Nine Inch Nails 
and its creator Trent Reznor modern rock deities.  Ten years after that 
groundbreaking release, the band is as relevant as ever, having created 
another masterpiece with _The Fragile_.  A two disc album containing 
more than twenty songs, _The Fragile_ is a masterpiece of emotional 
complexities and raw energy.  Let's just hope it's not another five 
years before we hear from Reznor again.
	3) Sleater-Kinney, _The Hot Rock_ (Kill Rock Stars).  No band 
has matured over the years quite as quickly as Sleater-Kinney, while 
still maintaining their so-called indie-credibility.  _The Hot Rock_, 
easily the band's finest album to date, is a ferocious offering of 
blistering rock, coupled with an unabashed lyrical intensity.  From 
the absolute urgency of "Banned From The End Of The World" to the 
heartbreaking beauty of "The Size Of Our Love", the album just might 
be a glimpse into the future of modern rock. 
	4) Beck, _Midnite Vultures_ (DGC).  Not one to shy away from 
change, _Midnite Vultures_ is sharply different from anything in 
Beck's catalog.  Whereas 1996's _Odelay_ was full of inventive, yet 
obscure samples and digital complexities, his latest effort is 
overflowing in 60's style funk and soul with a wide array of 
contrasting styles and tempos. _Midnite Vultures_ paints Beck as the 
love impresario of a bizarre universe only Beck could create.  There's 
definitely a sexual undercurrent running through each song, but not 
once does Beck take himself too seriously.  But, with lyrics like 
"I'll do your laundry / Massage your soul / I'll turn you over / To 
the highway patrol", how could he?  The album's highlight, and perhaps 
Beck's finest song to date, is "Debra", a song Beck frequently plays 
in concert, yet never put on an album, until now.  The song features 
some of Beck's most amusing lyrics to date and showcases him as a more 
accomplished vocalist than any of us thought.  _Midnite Vultures_ is 
Beck's finest release to date - an original and often brilliant 
mixture of inventive and finely crafted songs. 
	5) Fiona Apple, _When The Pawn..._ (Epic).  Granted, the 
actual album title, ninety words in length, is about as pretentious 
as you can get.  But ignore that and focus instead on the album's 
content, which in and of itself is surprising in its maturity and 
range.  The album, filled with Beatles influences, piano laden hooks 
and powerful vocals, is Apple's best work to date and far surpasses 
her debut effort by leaps and bounds.
---
	Top 5 - Matt Carlin

	1) Pavement, _Terror Twilight_ (Matador). Take away the super 
distorto guitars and cut and paste aesthetic and you still got great 
tunes. And this is their finest batch ever, says I.
	2) Fantomas, _Fantomas_ (Ipecac).  Mike Patton's death metal 
fantasy band with the former drummer from Slayer!!! No lyrics, one 
minute songs, hot stuff.
	3) Flaming Lips, _The Soft Bulletin_ (Warner).  Fine pop music 
in the Pet Soundsian tradition, with some of the best drum sounds around.
	4) Handsome Boy Modeling School _So How's Your Girl_ (Tommy 
Boy).  A hip-hop album you can listen to from start to finish without 
getting bored. Truly a revelation.
	5) Nine Inch Nails, _The Fragile_ (Interscope).  Call me crazy, 
but that Trent Reznor has gotten funky. Still scary. But funky too. 
Bonus!
---
	Top 5 - John Davidson

	1) Wilco, _Summer Teeth_ (Warner).  With his first band Uncle 
Tupelo, Jeff Tweedy was kind of the kid brother, the one whose songs 
always seemed to look up to the mature introspection of cohort Jay 
Farrar.  My how time changes.  As Son Volt and Farrar falter, Wilco 
with Tweedy at the helm have become one of the best bands in America. 
A rootsy, edgier version of _Pet Sounds_, _Summer Teeth_ is a 
spellbinding trip through thirty-something mid-America.
	2) Guided By Voices, _Do the Collapse_ (TVT).  For years they 
were a working man's band that indie snobs tried to keep a secret, but 
with a jump to the sort-of major leagues in TVT, the rest of us could 
finally appreciate the GBV chant.  The bad habits that once sprung from 
minimal finances and unrestrained songwriting (tape hiss, fragmentary 
song ideas, beer-induced craziness) are peeled back on _Do the 
Collapse_, letting Robert Pollard's love for the Who and Big Star come 
shining through.
	3) Gomez, _Liquid Skin_ (Virgin).  A condensed, modern, British 
version of Widespread Panic.  Sort of.  Laid back psychedelic front 
porch folk jams.  A couple of killer ballads.  Proof positive that not 
everything coming from Britain is Oasis, Blur, or techno. In fact, this 
might be one band worth the NME hype.
	4) Jason Falkner, _Can You Still Feel?_ (Elektra). He's a pop 
artist with skills on the level of Jon Brion, yet Falkner can't seem to 
get a good break.or the press.  _Can You Still Feel?_ was as good a Big 
Star record as there's been in years, though not as starkly lonely as 
Chilton's fare tends to be.  A first-rate songwriter, arranger, and 
musician, here's hoping that the millenium will offer Falkner a better 
label home next time out.
	5) Sloan, _Between the Bridges_ (Murderrecords). Yes, they're 
that good.  Five solid records have made them famous in Canada yet they 
appear to be stuck in the same state as Tragically Hip down here in the 
United States.  No matter, _Between the Bridges_ was another fine tribute 
to the joys of Cheap Trick, Bad Finger, and My Bloody Valentine. One of 
those ambitious indie records that you can still hum along with. 
---
	Top 5 - Andrew Duncan

	1) Mr. Bungle, _California_ (Warner). Mike Patton is a unique 
performer with an amazing vision. He has gone from the vocalist of 
hard rock/metal band Faith No More to chewing on a carrot and recording 
it for John Zorn's label to forming a band called The Fantomas and 
transforming an album and live show into an orchestrated comic book. 
However, Mr. Bungle could be the sanest motley crue out of the bundle, 
and _California_ is the band's most talented and diverse release to 
date. Sounding like a cross between The Beach Boys, Christopher Cross, 
the Tom and Jerry cartoon and little niblets of every other musical 
style masterfully thrown together, _California_ is a perfect listen 
all the way through.
	2) Old Time Relijun, _Uterus and Fire_ (K).  Old Time Relijun 
defines rock and roll in its purist form. With _Uterus and Fire_, the 
Olympia band turns rock and roll into a catalyst of sexual frenzy. 
Their sound is sweaty, loud and raunchy. With song titles like "Dagger" 
and "Archaeopteryx Claw," you can not help but to move your hips from 
side to side like Linda Blair from "The Excorcist."
	3) Blur, _13_ (Virgin). With the simple outburst of "Song 2" 
from Blur's previous self-titled release, the band won over the fans 
of pop culture worldwide. With _13_, it's back to business for the 
British pop group and a fantastic collection of catchy tunes in the 
weirdest sort of way. The gospel intro of "Tender" follows through 
with the quirky "Bugman." "Coffee & Tea" is neo-folk pop, while 
"B.L.U.R.E.M.I." makes off with a quick dash of punk. 13  takes the 
experience of their previous self-title release, and reverts back to 
the days of _Parklife_. 
	4) Boom Boom Satellites, _Out Loud_ (Epic). Boom Boom 
Satellites has taken electronica to its extreme while giving nods to 
jazz influences like Miles Davis or Art Blakely. Each song contains a 
full palette of both electronic and human drumming effects, combined 
with various sampling and proto-metal guitars. "Push/Eject" may be 
the hitmaker from the bunch, but make sure the seat belt is fastened 
tight because each song is equally as good.
	5) Nine Inch Nails, _The Fragile_ (Nothing).  For about two 
years, this album was eagerly anticipated to hit the mass market, and 
finally the two-CDs have been released just short of the Year 2000.  
_The Fragile_ contains a more intelligent and less-angry Trent Reznor 
as he touches on early industrial and tints of minimalism. Don't 
worry, there is plenty of Reznor angst to go around, and CD Two 
really shines as some of NIN's greatest work.
---
	Top 5 - Bob Gajarsky
	
	1) Shack, _H.M.S. Fable_ (London). Burt Bacharach meets 
the La's; Michael Head may be fighting his drug addictions, 
but this album has (literally) been years in the making.  
Well worth the wait.
	2) Robbie Williams, _The Ego Has Landed_ (Capitol).  
While _Ego_ is a compilation of two internationally released 
discs, it serves as the first American exposure for Mr. Williams. 
And though successful solo acts from boy bands are harder to 
find than needles in a haystack, not only has Williams been 
successful, but has found something money can't buy - credibility.
	3) Freestylers, _We Rock Hard_ (Mammoth). Somewhere 
between the 80s B-boy beats and the frenetic beats captured 
so wonderfully by Fatboy Slim - utterly irresistible.
	4) Smash Mouth, _Astro Lounge_ (Interscope).  Fully breaking 
the sophomore jinx, Smash Mouth prove that they can put together an 
entire album - and although their songs are starting to become a bit 
formulaic, at least _Astro Lounge_ has hooks.  The same can't be said 
of their debut.
	5) Pet Shop Boys, _Nightlife_ (Sire).  The duo known as the 
Pet Shop Boys seemingly have been around forever, and bouncing from 
label to label - with almost no U.S. sales - but _Nightlife_ is their 
strongest effort since _Please_.  
---
	Top 5 - Chris Hill

	1) Wheat,- _Hope and Adams_ (Sugar Free).  Their debut, 
_Medeiros_, concealed pop romanticism behind cloudy skies of hazy 
guitar - splendid in its restraint and the tenderness under the 
heavy woolen clothing.  Enter superproducer du jour Dave Fridmann 
(Flaming Lips, Mogwai, Mercury Rev) for Wheat's second.  Near 
perfect, and the only album this year where each song makes me 
forget the previous in the rush of elation.  I'm particularly 
fond of the Simon and Garfunkel reference in "Body Talk (Part 
Two)", but picking a favorite is a harder choice than Sophie's.
	2) Lullaby for the Working Class, _Song_ (Saddle Creek / 
Bar None).  With a name inspired by a Tolstoy essay and mature 
songwriting that belies their youth, Lullaby for the Working 
Class appeals to the Faulkner fan in me.  Their lyrically-rich 
and musically-innovative sound resonates and amplifies with each 
listen.  The Nebraska group combines guitar, violins, cellos, 
banjo, glockenspiel, drums, and an upright bass, for a blissful 
romp through Elysian fields.  A band I hope lasts for decades.
	3) Mogwai, _Come on Die Young_ and _EP + 2_ (Chemikal 
Underground).  '99 saw two releases from the mighty Scotsmen. 
"Burn Girl Prom Queen" off the EP is phenomenal:  who'd have 
thought a band that mentions (and has covered) Black Sabbath as 
an influence would produce an eight minute exhalation of brass? 
Mogwai is the calm before the storm, then the storm itself. 
Music by which to levitate.  _CODY_, notably, sees Dave Fridmann 
(of the above Wheat cd) at the helm - who will the Good Witch 
Glinda touch next?  
	4) Godspeed You Black Emperor!, _Slow Riot for New Zero 
Kanada_ (Kranky).  Their previous album should have been on '98's 
best list, had I gotten it in time.  This is the perfect disc to 
play, walk out of the room, then race back in to check what song 
(or more accurately, what point in the 17+ minute song) is 
playing.  A soundtrack without a movie, in its moments of pure 
string/guitar/drum incandescence, I see ballerinas, iced-over 
lakes, fast-riding cavalries, and Jimmy Cagney gangster films. 
Discover your own visions. 
	5) Sparklehorse, _Good Morning Spider_ (Capitol).  Utter 
despair and impish glee meets studio wizardry and inventiveness. 
_GMS_ was a '98 U.K. release and inexplicably delayed until '99 
in Mark Linkous' homeland, so it makes my list.  Linkous' near-
fatal accident brought a resonance to this album that turned out 
to be happenstance - just two of the songs were written post-
paralysis (and recovery).  "Saint Mary" still tugs at the heart, 
eleven months after first listen.  Many singles from both sides 
of the happy/sad fence. 
---
	Top 5 - Bill Holmes

	1) Gigolo Aunts, _Minor Chords And Major Themes_ (E 
Pluribus Unum).  With its strong pop sensibilities and smart 
lyrics, _Minor Chords And Major Themes_ is just as effective 
blasting from the speakers as it is accompanied by a rainy 
sunset and a broken heart. Stunningly cohesive, yet easily 
broken down to one hit single after another.
	2) Bent Scepters, _Hellevator Music_ (Ginger). 
The perfect name for these guys would be "The Garage 
Doors"...amazingly atmospheric melting pot of psychedelic, 
fuzz, garage and surf music played with intensity and 
passion. Any band that covers The Zombies on one record 
and Frank Zappa on the next is okay in my book!
	3) Cherry Twister, _At Home With Cherry Twister_ 
(Not Lame).  Alternately soft and loud, filled with changing 
tempos, great vocals and ripping guitar solos...usually a 
strong melody outdone by the chorus, which is in turn 
leapfrogged by the hook and the bridge. A masterfully 
versatile pop record.
	4) Wilco, _Summerteeth_ (Reprise). Tweedy stripped 
down the band and reconstructed its direction, a move that 
alienated some diehard Uncle Tupelo purists but should 
thrill anyone with an open mind and a respect for the art 
of songwriting.
	5) Walter Clevenger and the Dairy Kings, _Love 
Songs To Myself_ (Permanent Press).  With a witty and 
sometimes self-depreciating tone, Walter and the boys meld 
twang, pop and barroom rock into an energetic and accessible 
sound that deserves to be pumping out of radios everywhere.
---
	Top 5 - Scott Hudson

	1. Chris Cornell, _Euphoria Morning_ (A&M). Chris Cornell has 
proven that whatever musical situation he is thrust into, he always 
shines. With his debut solo effort _Euphoria Morning_, Cornell has 
reached Supernova proportions. A departure from the Soundgarden grunge, 
_Euphoria Morning_ offers insight into Cornell's more introspective 
side combining 60's psychedelic melodies with intelligent, often 
emotive lyrics. _Euphoria Morning_ is highlighted of course, by 
Cornell's astonishing vocal range. Not only a great debut record, 
but a great record, period.
	2. Jason Falkner, _Can You Still Feel?_ (Elektra). There is no 
one in music that writes such fluidly structured, hook-laden pop tunes 
as Jason Falkner. Can You Still Feel has a late 60's/early 70's pop vibe 
that is amazingly modern, vibrant and uplifting. _Can You Still Feel?_ 
should be part of everyone's collection; especially those who have a 
ravenous appetite for sensible, carefully-crafted pop.
	3. Taxiride, _Imaginate_ (Sire). Taxiride may be the most 
underrated band of 1999. The Melbourne based quartet scored big with 
"Get Set" and then dropped off the charts. If the truth be told, 
_Imaginate_ is a fantastic record. The record is full of strong pop/rock 
tunes layered in thick, seamless harmonies that are reminicent of Crosby, 
Stills and Nash, Beatles and Everly Brothers.
	4. Stone Temple Pilots, _No. 4_ (Atlantic). After a three year 
hiatus, STP stormed back with their finest work to date. No. 4 is a 
hybrid of the white-knuckled grunge tones found on Core and the 
psychedelic/pop sounds that grace _Purple_ and _Tiny Music_... Songs 
like "Glide", "Church On Tuesday", "Sour Girl" and "Sex and Violence" 
evidence a more mature approach to their music, without abandoning out 
their grunge roots. One of only a handful of true rock albums released 
this year and possibly the only one worth adding to your collection.
	5. Zen Mafia, _California_ (RCA). Victor Murgatroyd and Chris 
Johnson's first outing is a direct hit. _California_ combines elements 
of hip-hop/dance and rock grooves behind Murgatroyd's Lou Reed vocal 
narration. The album is laced with hooky choruses and great harmonies. 
If ever there were a sleeper record in 1999, _California_ would be it.
---
	Top 5 - Steve Kandell

	1) Beulah, _When Your Heartstrings Break_ (Sugar Free). 
Delirious power pop from San Francisco punctuated with big fat 
horns - a lot like fellow Elephant 6 band Apples In Stereo, but 
with less _Pet Sounds_ baggage.  "Emma Blowgun's Last Stand" 
and "If We Can Land a Man On the Moon, Surely I Can Win Your 
Heart" are even better than their titles.
	2. Tom Waits, _Mule Variations_ (Epitaph). The 
long-awaited album from the last American icon/iconoclast 
actually manages to live up to its lofty anticipation.  
Amazingly, this works both as a  sampler for the uninitiated 
and a satisfying offering for those who have been with him 
all along.
	3. Superchunk, _Come Pick Me Up_ (Merge). Superchunk 
is somehow getting better after ten years of writing the 
catchiest songs on earth.  This time around, horns and strings 
augment the old formula, without detracting from what made the 
formula so successful to begin with.  And if you're not down 
with the brass, "Good Dreams" should keep you sufficiently rocked.
	4. Built to Spill, _Keep It Like a Secret_ (Warner). 
More streamlined than '97's sprawling _Perfect From Now On,_ 
but still large and epic enough to give prog rock indie cred. 
With his soaring guitars and reedy vocals, Doug Martsch 
is the missing link between Neil Young and J. Mascis.
	5. The Flaming Lips, _The Soft Bulletin_ (Warner). Equal 
parts maudlin and effervescent, this collection of ditties about 
bugs, bombs, and open wounds sounds like a companion piece to 
Mercury Rev's _Deserter Songs,_ both of which were produced by 
the latter's Dave Fridmann.  Full of bold, symphonic arrangements 
and lyrical quirks, _The Soft Bulletin_ is kiddie music for 
grown-ups.
---
	Top 5 - Wes Long

	1) XTC, _Apple Venus_ (TVT).  The Swindon duo, Andy Partridge 
and Colin Moulding, create a sumptuous and dizzyingly splendid 
amalgam of string-arranged and acoustic pop penned during a five-year 
strike against their then recording company Virgin.  Reminiscent of 
the _Skylarking_ album this one is easily as good as anything XTC has 
ever done.   This is pop?
	2) Ben Folds Five, _The Unauthorized Biography Of Reinhold 
Messner_ (Caroline).  Why do these guys constantly make me feel like 
I'm listening to a school musical written and performed by child 
prodigies?  The addition of extra backing musicians, especially the 
string section, enables a once fun-time happy go lucky band to grow 
up and achieve near perfection.  "Regrets" is easily one of the best 
songs of the year.  This disc constantly surprises me the way 
Radiohead's _OK Computer_ did.  
	3) Jason Falkner, _Can You Still Feel?_ (Elektra).  Jason's 
second effort, following the criminally overlooked _Author Unknown_, 
proves to be anything but sophomoric. Falkner plays all the instruments 
and controls the listener like a master puppeteer, leading you all too 
safely in one direction while pulling the rug from beneath you with far 
too clever mood and chord changes.  This son of a bitch is good.
	4) Fountains of Wayne, _Utopia Parkway_ (Atlantic).  Should 
be titled "The Complete Idiots Guide To The Perfect Three Minute Pop 
Song."   Well conceived and contagious as hell hooks coupled with 
lyrics that you'll catch yourself quoting to your friends make this 
disc a pop masterpiece that you'll not soon tire of spinning.
	5) The Negro Problem, _Joys & Concerns_ (Aerial Flipout).  
This Southern California band defies categorization, grooving along 
on a funky-assed baritone fueled course to a flowery world you'll 
blissfully lose yourself in.  Get past the Prince-goofy spelling of 
the achingly lovely "ComikBuchland" and soulful "Ahmnot Madatcha" and 
you'll find two of the better songs of 1999.  Endlessly creative tunes 
with often-humorous lyrics delivered by an ultra-compelling vocalist 
backed by horns, keys, harmonies and the occasional banjo.  The most 
promising band I know of.
---
	Top 5 - Wilson Neate

	1) Gorky's Zygotic Mynci, _Spanish Dance Troupe_ (Beggars 
Banquet).  Dropped by Mercury, Gorky's bounced back with this 
gem.  By 90s standards it's an album of late-60s/early-70s 
duration, a mere 37 minutes.  But that makes sense as it's a 
brilliant evocation of those periods: the best of early Floyd, 
The Soft Machine, Nick Drake, Fairport Convention, and some 
Bowie/Roxy-esque glam.  It's not a simple imitation but, 
rather, a uniquely creative pastiche.  This is largely due to 
Euros Childs and his precociously self-assured songwriting 
talent.  Gorky's combine crafted musicianship, off-beat 
weirdness and sincerity without the pretension and 
pointlessness of art-rock noodlers.  To write a song about 
poodles during which you bark and which people will want to hear
 more than once is an achievement in itself.
	2) Everything But The Girl, _Temperamental_ (Atlantic).
In 1996 Everything But The Girl completely refashioned 
themselves, turning out the stunning _Walking Wounded_.  
That album seemed impossible to top.  But they've managed 
just that with _Temperamental_.  Like _Walking Wounded_, 
it's not exactly a barrel of laughs; in fact, it's probably 
darker but here they've achieved a synthesis of vocal melody 
and music that moves their sound to another level entirely.  
Against the grain of fashionable-yet-emotionally-empty techno, 
EBTG take largely anonymous formulae and inscribe them with 
feeling and mood.  Thanks to Thorn's powerful and evocative 
vocals that hang perfectly over Watt's subtle, compelling house 
dabblings, they've created the perfect pop record.  Music you 
can dance to and listen to.
	3) Atari Teenage Riot, _60 Second Wipe Out_ (Grand Royal).
If you're lucky enough to have hearing-impaired neighbors, no 
neighbors, or if you reject the fascist hegemony of neighbors, 
as Alec Empire would encourage, then you'll have listened to 
techno-punk's finest hour at the volume it demands.  If an auto 
pile-up were recorded and remixed, it would sound like ATR: a 
relentless aural assault, a juggernaut-sized throbber of a 
headache at 140 bpm.  Alec pushes us through this physically 
challenging album like an anarchist drill sergeant on a punk 
rock assault-course.  The energy is enhanced by the lyrical 
anger - making Crass sound like The Teletubbies (yes, ATR are 
still railing against all ideological and repressive state 
apparatuses).  Whether you can take ATR seriously is
irrelevant, as it was with punk - it's the attitude and pose, 
stupid!  A special Christmas gift for grandmother perhaps?
	4) Marc Almond, _Open All Night_ (Instinct).
Still sleazy after all these years, Marc Almond is back with 
another winner and quite possibly his best work for some time.  
He's still out there trawling the boudoirs, bars and street 
corners of his uniquely conceived city of night, scouring the 
usual territories of torment, melancholy, lust, desperation, 
self-destruction, and delicious excess over which his oeuvre 
has lingered since the outset.  And musically, _Open All 
Night_ displays the variety that has always characterized 
Almond's work: trip hop, techno, Latin beats, white soul, 
jazz, the camp torch song, and the dark ballad make up the 
rich texture of this album.  He continues to be a rare talent 
with a distinct musical and lyrical vision.  If only more 
people would take notice.
	5) Lo-Fidelity Allstars: _How to Operate with a Blown 
Mind_ (Skint/Columbia). The Lo-Fidelity Allstars may be the 
Chemical Brothers with vocals (and rock instruments) - and 
definitely without Ecstasy.  Their sound perfectly encapsulates 
a certain side of London in the late '90s, but it's not the 
Cool Britannia where Noel Gallagher has cocktails chez Tony 
Blair.  It's somewhere darker, out on the streets, where the 
scene is at once more bitter and more alive with tension, 
simmering with discontent.  Sneering vocals and dystopic lyrics 
compete with funky keyboards, taking the shallow urban glamour 
of a _Lock, Stock and Two Smoking Barrels_ to the dance floor 
without losing any of the menace.
---
	Top 5 - Linda Scott

	1) Sting, _Brand New Day_ (A&M).  Sting leads the pack with 
his most stylistically integrated album thus far.  Tracks with bossa 
novas, Bach revisions, country flairs, soft rock begin with the 
smashing "Brand New Day" and building to the big finale, "End of the 
Game".  All that musical talent in one man. Who'd have guessed The 
Police would spawn this man for all musical seasons?
	2) Tom Petty and the Heartbreakers, _Echo_ (Warner).  
Tom Petty has been in the musical business for 23 years.  Not a man 
to chase trends, Petty has released another in his series of perfectly 
consistent, mellow albums.    _Echo_ has a tougher bite than the others 
with lyrics that are cutting and defiant.  So many singles can come off 
this one, and they'll be a standout at any concert where Petty can 
barely fit his hits into a two hour program.
	3) Nine Inch Nails, _The Fragile_ (Interscope).  The long awaited 
Trent Reznor album needs two CDs and 102 minutes to complete.  
_Fragile_ is deliberately misnamed - it snarls and bites all the way 
through.  Disc one has the expected NIN overload with big guitar sounds 
and pounding drum machines.  Disc two has more emphasis on the beat.  
Listen to _The Fragile_ in one sitting. Despite their vocal fans, 
Marilyn Manson and the new Axl Rose can't touch the Reznor genius.
	4) Counting Crows, _This Desert Life_ (Geffen).  Adam Duritz, 
frontman, singer and lyricist for Counting Crows, has reached back to 
the band's debut album, _August and Everything After_ and found some 
joy missing in the sophomore effort.  This third album is everything 
you could wish for from this fine pop band.  Duritz' legendary 
slowness in penning lyrics succeeds in giving us the variety of  
"Hanginaround", "Mrs. Potter's Lullaby" and "All My Friends".  A 
dramatic singer backed by an outstanding band - Counting Crows' _This 
Desert Life_ is thought provoking and fun.
	5) Crosby, Stills, Nash & Young, _Looking Forward_ (Warner). 
This band has been playing together off and on for thirty years and 
has released just four albums.  Each is a jewel, and _Looking 
Forward_ is a magnificent acoustic-based album with the beautiful 
harmonies we've come to expect from CSN&Y.  _Deja Vu_ was their 
first and best, but _Looking Forward_ is a wonderful bookend.   Neil 
Young is excellent on guitar and vocals, and all four men have 
something important to contribute.  CSN&Y: long may you run.
---
	Top 5 - Don Share

	1) XTC, _Homespun_ (TVT).  Say what you want 
about Andy Partridge's demos being nearly identical to 
the final products, and the relative weakness of Colin 
Moulding's demos (I call it shyness).  Nobody else 
except for Pete Townshend combines grandiosity of 
vision with home studio sweetness so darn lovably. 
_Apple Venus_ (a masterpiece) would have been my album 
of the year, but I realized that I play these demos 
with far more pleasure.
	2) Super Furry Animals, _Guerrilla_ (Flydaddy). 
Lots of people like the Flaming Lips' _Soft Bulletin_ - 
well, here's the way Welsh craziness sounds.  Let's 
call it the Hard Bulletin. This band deserves more 
credit for pure whack than the Lips and the Rev combined.
	3) Robyn Hitchcock, _Jewels for Sophia_ (Warner). 
Not just another Robyn Hitchcock album, I'm relieved and 
pleased to say.  It rocks.  It makes the eyes glisten in 
sadness, and with goofy pleasure, at its jokes (and what 
could be more timely than making fun of Seattle?).  
Remarkably, its quirky finger is right on the pulse - odd 
thing for a Brit who used to copy Syd Barrett's English 
eccentricities -of America.
	4) Gorky's Zygotic Mynci, _Spanish Dance Troupe_ 
(Beggars Banquet).  Even odder than Super Furry 
Animals, which makes them more peculiar than Lips plus 
Rev, as above.  Be advised, however, that this is 
their most soothing and rustic album:  if Belle and 
Sebastian and Lilac Time went tripping and started 
talking in tougues, here's what you'd get.
	5) Jason Falkner, _Can You Still Feel?_ (Elektra). 
Don't even bother to call this power pop: it is not Matthew 
Sweet.  Falkner drives right off the genre map with this 
album, which rubbed some of his own far-from-numerous fans 
the wrong way and saw him dropped by the record label 
that figured out how to make money from The Doors and 
possibly even Love: that's how bent this music is, and 
why it deserves our support.  It shrieks, it beats its 
breast, it has melodic moments it flees from like a cat 
from eyedrops, and its heart is unerringly in the right 
place.  If Alex Chilton could be bothered, he'd be making 
albums like this one, which picks up where _Radio City_ 
left off, without imitating it, or anybody.
---
	Top 5 - Scott Slonaker

	1. Matthew Sweet, _In Reverse_ (Volcano).  1999 represented 
a major rebound from 1997 and 1998. _In Reverse_ is Matthew Sweet's 
best album ever (yes, fans, that includes _Girlfriend_) - but not 
because of the much-ballyhooed Spectorian production techniques.  
Instead, Matty simply did what's too often lost in the shuffle: he 
wrote a great batch of tunes.  Sure, "If Time Permits" and "Untitled" 
benefit enormously from the heavy reverb and massed backing, but they 
really work because they're gorgeous and memorable songs. The pastiche 
of '60s and '70s keeps things fresh; Bread would have killed for a 
soft-rocker like "Trade Places" or "Hide", and "Faith in You", fueled 
by new guitarist Pete Phillips, kicks like a mule.  The album-ender, 
"Thunderstorm", is a ten-minute megamix of four classic Sweet ditties 
that will leave you breathless.  A similar retro aesthetic and 
McCartneyesque gift for melody also fueled Owsley's excellent 
self-titled debut.
	2. Beck, _Midnite Vultures_ (DGC).  The question must have 
dogged Beck as it does so many other  legendary artists- what do you 
do when you've made your masterpiece?  Thankfully for everyone, Beck 
decided against remaking _Odelay_ (which he might have been able to 
pull off) and simply laid down the boogie.  "Nicotine and Gravy" could 
be an outtake from _Purple Rain_, and "Hollywood Freaks" is a rap 
parody that represents the closest thing to a "Loser" sequel he has.  
The sheer sonic wizardry of _Midnite Vultures_ is nothing short of 
jaw-dropping.  It may be some serious silicone in places (the falsetto 
soul of "Debra"),  but the soundscape and songwriting keep you from 
caring.  Gay Dad's similarly no-holds-barred approach to Britpop 
allowed _Leisure Noise_ to deliver some refreshing pop kicks.
	3. Wilco, _Summer Teeth_ (Reprise).  After their stunning 
collaboration with Billy Bragg, _Mermaid Avenue_, Wilco decided 
against returning to the country-rock genre exercises that always 
pose a threat and went for the big top with _Summer Teeth_, a 
wonderfully realized shot of Beach Boys-Bee Gees-influenced 
piano-drenched pop.  But, once again, great songs (notice a theme?) 
push it over the top.  The organ-piano interplay in "Can't Stand It" 
is particularly memorable, and it sounds like the Wilsons themselves 
paid a studio visit to drench "Nothingsevergonnastandinmyway(again)" 
in oo-wee-oo backing harmonies.  Yet, frontman Jeff Tweedy streaks songs 
such as "A Shot in the Arm" and "We're Just Friends" with road-weary 
restlessness and ennui, adding both vinegar and staying power to the 
heady mix.  _Fight Songs_, from Dallas' Old 97's, is another example 
of how great tunes ("Nineteen", "Murder or a Heart Attack") make all 
the difference.
	4. Moby, _Play_ (V2). _Play_, if you strip out the 
movie-score-reject padding that  composes most of its final third, is 
the first-ever electronic blues record.  Moby's never sounded more 
inspired than on cuts like "Natural Blues" and "Why Does My Heart Feel 
So Bad?"; he simply lays back, keeps the sound simple, and lets blues 
recordings from the '20s and '30s do the work.  As long as he doesn't 
try to vocalize himself ("Machete", "The Sky is Broken"), _Play_ is 
powerful, intoxicating stuff.  Oh, yeah, and you get the old-school 
jam "Bodyrock" tossed in for free.  Air's _Moon Safari_ is another 
example of techno's recipe given interesting flavor through the 
judicious use of "Sugar Sugar" and loungy  drizzle.
	5. Macy Gray, _On How Life Is_ (Clean Slate-Epic).  Lauryn Hill 
may still be grabbing the headlines, but singer-songwriter Macy Gray 
made an underrated gem of her own. Macy's rough-and-ready vocals 
sandpaper "Do Something" and "Why Didn't You Call Me" to a shine, and 
the single "I Try" is a drop-dead gorgeous hymn to wistful love.  The 
secret to her success, besides songs (what else?), is the organic, 
sweaty clatter of her many-pieced backing band.  And any album not by 
Ween with a song titled "Sex-O-Matic Venus Freak" gets extra points.  
British space-roots outfit Gomez ride the nod-'n-sweat juke-joint stomp 
to success on _Liquid Skin_, even if it's mostly the same as their 
debut.  When it ain't broke, don't fix it.
---
	Top 5 - Kerwin So

	1) Jimmy Eat World, _Clarity_ (Capitol).  Fall in love with 
rock all over again.  Actually, I just wanted to write that.  But in 
all seriousness, the third full-length from this Tempe, AZ, quartet 
sparkles with the innocence and romance sadly lost in today's market 
of vapid aggression and commercially depressoid offal that passes as 
art. Thirteen strong songs pushed into the echelons of brilliance by 
clear, heartfelt vocals and unbelievable production by the ever-talented 
Mark Trombino, _Clarity_ is great first-kiss material.  Heck, there's 
even a Christmas song (of sorts) on here. 
	2) Papa M, _Live From a Shark Cage_ (Drag City). Meditative, 
alluring guitar soundscapes crafted by indie rock's guiding light, David 
Pajo. Modern instrumental music that's neither pretentious nor New Age-y, 
but packs plenty of depth.  Wonderful.
	3) Various Artists, _Reach the Rock_ Soundtrack (Hefty).  
John McEntire (of Tortoise fame, and a talented producer and engineer in 
his own right) was commissioned by John Hughes (the man behind the '80s 
Brat Pack movies) to score the soundtrack to his latest film. McEntire 
turns in seven original, evocative pieces, and ropes in some help from 
other post-rock luminaries (including Tortoise and the Sea and Cake) to 
round out one of the most consistent releases this year. The sparse but 
richly melodic closing track by Dianogah will leave you breathless, and 
is worth the price of admission alone.
	4) Godspeed You Black Emperor!, _Slow Riot for New Zero 
Kanada_ (Kranky).  If you could expand tenfold on the alienation and 
helplessness conveyed by Radiohead's _OK Computer_, you'd get something 
akin to Montreal, Canada's Godspeed You Black Emperor.  This two-song, 
half hour long EP continues the band's exploration of the isolation and 
death of the human spirit in the context of urban decay and hyper-modern 
society-- all without vocals.  The only voice comes by way of interview 
samples with an angry man on the street, explaining why he hates and 
distrusts the government. The songs, utilizing weeping strings and 
other symphonic elements along with standard rock instrumentation, 
build and collapse over the span of 10 to 15 intense minutes, at times 
reaching overwhelming rushes of ineffable sadness, despair, and majesty, 
all beautifully mangled together.  Godspeed's music is not for the 
timid:  if there's something lurking deep inside of you, this is the 
band to drag it out, kicking and screaming.
	5) Juno, _This is the Way It Goes and Goes_ (DeSoto).  It's 
rare when a bonafide rock band releases a debut this deep and affecting, 
flowing with so many musical ideas that somehow work in concert.  I'm 
still trying to plow through this album, as a matter of fact, but 
off-hand I'd say they remind me of bands as diverse as Nirvana, 
aMiniature, Jawbreaker, and Mogwai.  Juno's managed to pull elements 
like shoegazer and emo rock together to create a dark, powerful sound 
that's uniquely their own. As lead singer Arlie Carstens put it in a 
great interview with the zine Lost At Sea, "We wanted the record to 
sound massive and enveloping.  Pull the listener in and immerse them 
in a mood.  Give them a lot to decipher and play with."  They've 
certainly accomplished that, and we should give thanks.
---
	Top 5 - Lang Whitaker

	1) Rob Swift, _The Ablist_ (Asphodel).  Rob Swift's turntables 
might wobble but they sho 'nuff don't fall down. Finally distinguishing 
himself from his X-men collborators, Swift shows who's the fastest of 
them all, laying down thick beats with tight hooks.
	2) Beck, _Midnite Vultures_ (DGC). White men can't dunk, but 
Beck proves they can funk like the best of them. This straight-faced 
homage to '70s chocolate soul needs only the Love Unlimited Orchestra 
to push it into classic territory.
	3. Goodie Mob, _World Party_ (LaFace) After two records of 
serious soul-searching, the Mob finally gets their party on in grand 
fashion, with their most commercially viable record yet. Plus, Cee-Lo 
gives long-overdue props to the Chicken Melt Plate at Waffle House.
	4. The Roots, _Things Fall Apart_ (MCA) Don't stick the spear 
in the side just yet - hip-hop isn't dead, as long as The Roots are 
still around. And their track "You Got Me," featuring Erykah Badu, 
might be the most poignant hip-hop song ever.
	5. Ibraham Ferrer, _Buena Vista Social Club Presents Ibraham 
Ferrer_ (Nonesuch). Even though I didn't understand a word on this 
record, Ferrer's voice is imbued with a sense of bittersweet pathos 
that goes far beyond lexicon.
---
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