Wednesday, July 16, 2003
Random thoughts on my top 50 of 2001, part 1.
*
The best album of the year was clearly Bob Dylan’s ”Love and Theft”. I don’t listen to it all that often, admittedly, but damn if it’s not an incredible record, easily his best since the ‘70s, or maybe ‘85’s highly underrated Empire Burlesque (yes, the production’s a bit heavy-handed, but listen to the songs!). [For those wondering, I found Time Out Of Mind a bit ponderous and a bit overrated.] And the key to it is something he’s not known for: his singing. Bob’s voice sounds positively unleashed in a way it hasn’t in years. Let’s hope he can keep it up in his forthcoming film and accompanying soundtrack.
*
Jamiroquai is an acquired taste, I understand. But “Little L” is just a ridiculously spirit-lifting, joyous single.
*
“You Can’t Change Me” is, apparently, destined to be one of the buried treasures of ’01, a gorgeously squelchy, soaring house track by Roger Sanchez featuring N’Dea Davenport and Armand Van Helden. N’Dea doesn’t sound much like she did back in her Brand New Heavies days, coming off more as a house diva with a soul transplant. I’m not sure what Armand’s contribution was other than some perfect, very Armand-like nasty metal guitar riffs which pop up intermittently out of the mix. A combo like Sanchez and Van Helden, however, does not leave me apt to complain.
*
They may still make some majestic rock’n’roll – and they do – but tell me, now that we’ve got some time behind us, that U2’s All That You Can’t Leave Behind wasn’t a little overpraised.
*
Goddamn I fucking love soulDecision. Where’s that second album, anyway? And before you mock, remember this, haters: they sampled a Pet Shop Boys b-side. And not just any PSB b-side, but the utter genius of “We All Feel Better In The Dark.” So shut the fuck up. [Plus, they’re Canadian!]
*
Alongside U2 in ‘01’s “let’s be realistic” file: Alicia Keys. Good, yes. A worldbeater? Uh, not just yet. Let’s remember Lauryn Hill’s MTV Unplugged, okay?
*
”I think you need some prayer, better call a deacon, girl.”
- Aaliyah featuring Timbaland, “We Need A Resolution” (Aaliyah, Virgin, 2001)
*
The problem with mashups no one told you about beforehand: every time I hear the opening to Daft Punk’s “Aerodynamic” now, I expect to hear Eminem start rapping “Two trailer-park girls go ‘round the outside… .” jjrob, I blame you.
*
I liked Toby Keith a lot more before he became such a loud-and-proud America-love-it-or-leave-it asshole. Remember those days, when he made charmingly goofy videos with Terry Bradshaw and songs with roadhouse pianos a-tinkling and declarations of “e-e-eeasy, now,” like “I’m Just Talkin’ Bout Tonight”?
*
That Gorillaz record was a whole lot better than the new Blur one. Good call on having the backup ready, Damon. Still have Del’s cell number in your rolodex?
*
Whether it’s meant to or not, I always hear R.E.M.’s “Beat A Drum” as impossibly, gloriously romantic, due to Stipe’s chorus. With him, it’s often hard to tell if one is taking his lyrics out of context, but oh what glorious out-of-context words (if that is, in fact, the case):
”This is all I want, it’s all I need
This is all I have, it’s everything.”
- R.E.M., “Beat A Drum” (Reveal, Warner Bros., 2001)
I can’t hear Stipe’s warm, lovely reading of those words and not think he’s talking about a partner, a love, a life. Combine it with the surrounding, lush arrangement, and it makes my heart soar.
*
If I did a do-over, “Ante Up (Robbing-Hoodz Theory) (Remix)” by M.O.P. featuring Busta Rhymes and Remy Martin would be in the fuckin’ top ten. Busta sounds more vital than he has since, and Remy Martin (and who the fuck is she, and where is she now? Girl was tight as hell)? “Bitch, run that!” M.O.P., predictably, are firestarters like Keith Prodigy. This single could – and should – incite riots. It makes me want ta punch ya in ya fuckin’ face. As Busta said, “this shit feel like an entire world collapse!” I want them goddamned diamonds, too. Like Mobb Deep’s “Quiet Storm” remix with Lil’ Kim, this may not’ve been a big hit, but on the streets and underground, this is classic.
*
Had Coldplay recorded Starsailor’s “Alcoholic,” it likely would’ve been an international hit. Shame, really, as Starsailor assuredly did it better than Chris Martin’s band could.
*
The best album of the year was clearly Bob Dylan’s ”Love and Theft”. I don’t listen to it all that often, admittedly, but damn if it’s not an incredible record, easily his best since the ‘70s, or maybe ‘85’s highly underrated Empire Burlesque (yes, the production’s a bit heavy-handed, but listen to the songs!). [For those wondering, I found Time Out Of Mind a bit ponderous and a bit overrated.] And the key to it is something he’s not known for: his singing. Bob’s voice sounds positively unleashed in a way it hasn’t in years. Let’s hope he can keep it up in his forthcoming film and accompanying soundtrack.
*
Jamiroquai is an acquired taste, I understand. But “Little L” is just a ridiculously spirit-lifting, joyous single.
*
“You Can’t Change Me” is, apparently, destined to be one of the buried treasures of ’01, a gorgeously squelchy, soaring house track by Roger Sanchez featuring N’Dea Davenport and Armand Van Helden. N’Dea doesn’t sound much like she did back in her Brand New Heavies days, coming off more as a house diva with a soul transplant. I’m not sure what Armand’s contribution was other than some perfect, very Armand-like nasty metal guitar riffs which pop up intermittently out of the mix. A combo like Sanchez and Van Helden, however, does not leave me apt to complain.
*
They may still make some majestic rock’n’roll – and they do – but tell me, now that we’ve got some time behind us, that U2’s All That You Can’t Leave Behind wasn’t a little overpraised.
*
Goddamn I fucking love soulDecision. Where’s that second album, anyway? And before you mock, remember this, haters: they sampled a Pet Shop Boys b-side. And not just any PSB b-side, but the utter genius of “We All Feel Better In The Dark.” So shut the fuck up. [Plus, they’re Canadian!]
*
Alongside U2 in ‘01’s “let’s be realistic” file: Alicia Keys. Good, yes. A worldbeater? Uh, not just yet. Let’s remember Lauryn Hill’s MTV Unplugged, okay?
*
”I think you need some prayer, better call a deacon, girl.”
- Aaliyah featuring Timbaland, “We Need A Resolution” (Aaliyah, Virgin, 2001)
*
The problem with mashups no one told you about beforehand: every time I hear the opening to Daft Punk’s “Aerodynamic” now, I expect to hear Eminem start rapping “Two trailer-park girls go ‘round the outside… .” jjrob, I blame you.
*
I liked Toby Keith a lot more before he became such a loud-and-proud America-love-it-or-leave-it asshole. Remember those days, when he made charmingly goofy videos with Terry Bradshaw and songs with roadhouse pianos a-tinkling and declarations of “e-e-eeasy, now,” like “I’m Just Talkin’ Bout Tonight”?
*
That Gorillaz record was a whole lot better than the new Blur one. Good call on having the backup ready, Damon. Still have Del’s cell number in your rolodex?
*
Whether it’s meant to or not, I always hear R.E.M.’s “Beat A Drum” as impossibly, gloriously romantic, due to Stipe’s chorus. With him, it’s often hard to tell if one is taking his lyrics out of context, but oh what glorious out-of-context words (if that is, in fact, the case):
”This is all I want, it’s all I need
This is all I have, it’s everything.”
- R.E.M., “Beat A Drum” (Reveal, Warner Bros., 2001)
I can’t hear Stipe’s warm, lovely reading of those words and not think he’s talking about a partner, a love, a life. Combine it with the surrounding, lush arrangement, and it makes my heart soar.
*
If I did a do-over, “Ante Up (Robbing-Hoodz Theory) (Remix)” by M.O.P. featuring Busta Rhymes and Remy Martin would be in the fuckin’ top ten. Busta sounds more vital than he has since, and Remy Martin (and who the fuck is she, and where is she now? Girl was tight as hell)? “Bitch, run that!” M.O.P., predictably, are firestarters like Keith Prodigy. This single could – and should – incite riots. It makes me want ta punch ya in ya fuckin’ face. As Busta said, “this shit feel like an entire world collapse!” I want them goddamned diamonds, too. Like Mobb Deep’s “Quiet Storm” remix with Lil’ Kim, this may not’ve been a big hit, but on the streets and underground, this is classic.
*
Had Coldplay recorded Starsailor’s “Alcoholic,” it likely would’ve been an international hit. Shame, really, as Starsailor assuredly did it better than Chris Martin’s band could.
# posted by Thomas : 2:55 PM
