Albums of the Year: 2009
You can finally exhale: here are my top 20 albums of 2009. Apart from the two top spots, the order is rather random. Ask me in ten minutes” time, and Grizzly Bear or M. Ward might sit at number 3 and 4. I”ve put sample tracks of each album on a mix; the song titles appear at the end each abstract.
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1. Richard Hawley – Truelove”s Gutter
I didn’t expect Hawley to top his majestic 2005 album Coles Corner. A profoundly soulful pop symphony with accomplished and unusual instrumentation, Truelove”s Gutter may very well be the best album of the decade.
(Open Up Your Door) Homepage
2. Ben Kweller – Changing Horses
Kweller at last finds his sound (changing horses?) with an outstanding country album that provides an antidote to the corporate side of the genre. An absolute joy.
(Gypsy Rose) Homepage
3. Wilco – Wilco (The Album)
Wilco are incapable of releasing a bad album. The eponymous album will probably not go down in the band’s history as a classic, but it’s solid quality.
(You And I) Homepage
4. Brandi Carlile – Give Up The Ghost
It took me a few listens to realise just how good an album this Rick Rubin-produced effort is. Stay-At-Home Indie Pop put it better than I could: “Anthemic, brash, cool”¦ the abc of Brandi, and I could go on to devilish, euphoric, fresh but fragile, and beyond (to gargantuan, hoarse-heavenly, incandescent), but all I want to really do is pathetically declare my love.” But will you still do so when Brandi gets that first clutch of Grammys, Indie-Pop? See if you can guess, without googling, with whom Carlile duets on Caroline.
(Caroline) Homepage
5. Farryl Purkiss – Fruitbats & Crows
The South African singer-songwriter dude returns three years after his excellent full debut with rockier effort. Purkiss draws his influences widely but manages to create his own coherent, late night sound.
(Seraphine) Homepage
6. Elvis Perkins – Elvis Perkins In Dearland
Here”s what I wrote earlier this year: Imagine Dylan as an indie artist, but with an appealing voice. There is a bit of an experimental edge to it, which in the wrong mood can be annoying, but exhilarating in the right mood.
(Doomsday) MySpace
7. Prefab Sprout – Let’s Change The World With Music
Released 17 years after it was actually recorded, this is supposed to be Paddy McAloon”s lost masterpiece. It’s not a masterpiece, but a damn good, and very accessible album, on which McAloon is on a bit of a God trip.
(Last Of The Great Romantics) MySpace
8. Neko Case – Middle Cyclone
Pitchfork calls the New Pornographer “a force of nature”. Hackneyed turns of phrases, even when they intend to pun on an album title, sometimes are just the most appropriate. Case is so much a force of nature that listening to the album can leave the listener exhausted.
(People Got A Lotta Nerve) Homepage
9. Monsters of Folk – Homework
I should love this. Two Bright Eyes guys, M. Ward and the singer of My Morning Jacket, and a batch of very good songs. It”s a fine album, and yet it fills me with a sense of unease, the same vibe I got from the Travelin” Wilburys (and one song here sounds like a Wilburys track!). And yet, I keep returning to Homework…
(Man Named Truth) Homepage
10. Peasant – On The Ground
This deserved more of a buzz. Nicely crafted guy-with-guitar stuff that recalls Joshua Radin and, yeah, Elliot Smith, with a bit of Simon & Garfunkel. A lovely cool-down album.
(Fine Is Fine) MySpace
11. Eels – Hombre Lobo
E offers nothing much new here, but, hey, it’s an Eels album, and does everything you want an Eels album to do. That”s enough for me.
(That Look You Give That Guy) Homepage
12. Grizzly Bear – Veckatimest
Beguiling and frequently surprising. It”s an aural extravaganza. Now, which Ben Folds does Two Weeks borrow its riff from?
(Two Weeks) MySpace
13. Mindy Smith – Stupid Love
Indie-Pop may be in love with Brandi Carlile; I declare my (admittedly promiscuous) love for the likewise deceptively named Mindy Smith. Stupid Love, it must be said, is not as breathtaking an album as Mindy”s debut, One Moment More, but it has Mindy”s beautiful voice and pleasant enough songs.
(What Went Wrong) Homepage
14. Bob Evans – Goodnight Bull Creek
I”m a great fan of Evans” 2006 sophomore album, Suburban Songs. Like that set, Goodnight Bull Creek was recorded in Nashville. Creek lacks the immediately catchy songs of the previous album, but has a much richer, textured production.
(Brother, O Brother) Homepage
15. Jason Paul Johnston – Willows Motel
Solid country, recalling Prine rather than Twitty. And just when I think Johnstone has settled into predictable country mode, he pulls something that makes me think, “What the fuck was that?”
(She’s A Friend) MySpace
16. Marissa Nadler – Little Hells
Again, to quote myself: I am not acquainted with Nadler”s previous effort; apparently it is gloomier than Little Hells. Well, this one isn’t a courtjesters” convention of heedless madcappery either. It is, however, a beautiful, hypnotic album which draws much of its inspiration from medieval, cloistered sounds.
(Rosary) Homepage.
17. M. Ward – Hold Time
Here Ward draws from the heritage of country and soul, from the Beach Boys and from Spector “” the choice of two covers affirm the retro vibe: an excellent cover of Buddy Holly”s Rave On, a less than brilliant rendition of Hank Williams” Oh Lonesome Me (featuring Hank Sr”s namesake Lucinda). The production is polished, the sound a lot more mainstream than previous albums
(Rave On) Homepage
18. Loney, Dear – Dear John
Our Swedish homestudio-bound genius returns with another magical multi-layered chamber-pop epic which is at once orchestral and, largely thanks to the man’s voice, intimate.
(Airport Surroundings) Homepage
19. Micah P Hinson – All Dressed Up And Smelling Of Strangers
I am not a big fan over covers albums. Usually they are self-conscious about doing something “different” with a song, or issue redundant carbon copies. Cover albums work when the performer is idiosyncratic, so unique that he or she need not try to make a song sound differently. Johnny Cash pulled it off; and for the most part Hinson does so here, where he takes on the likes of Sinatra (My Way, the ambitious fucker!), Leadbelly, Holly, Dylan, Beatles and John Denver, armed mostly only with his trusty guitar and croaking voice.
(This Old Guitar) Homepage
20. Laura Gibson – Beasts of Seasons
Pitchfork nailed it when their reviewer called the singer-songwriter Gibson”s music as “far better suited to a fireplace and a cup of warm apple cider than to your local Starbucks”. Beasts of Seasons is bleak and beautiful.
(Funeral Song) MySpace
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What is it about Rilo Kiley that puts the critics in such ambivalent mood? More Adventurous lives up to its title: it”s an eclectic album, even if there is not much that”s particularly experimental. The variety seems to have puzzled the critics; I like it. There”s the alt.country, folk-rock stuff with which the group has been mostly associated (such as on the lovely title track and The Absence Of God), power indie-pop (the fantastic Portions For Foxes and It”s A Hit), a 1920s throwback (Ripchord), a torchsong country number (I Never), and what might be described as electronica country (the dyslexic Accidntel Deth). Apart from Portions For Foxes, the dramatic Does He Love You (discussed 
When I first got SMiLE , I did not get it. In fact, I was so disappointed by Brian Wilson”s long-awaited and much-hyped collaboration with Van Dyke Parkes that I didn”t expect to ever play it again, just to file it away in a spot where the handsome packaging, with the rather good booklet, would look nice. Then circumstances conspired, making me play the thing four times over on loop. The penny dropped and I got it. There are moments I can live without, yet these moments are a part of the trip: a post-psychedelic trip, a melancholy yet buoyant trip, a trip to a place that doesn”t exist anymore, and probably never did. It”s an album as removed from reality as Brian Wilson is said to be today. The timing of its release, in the middle of the corporate, synthetic “00s was fortuitous. Coinciding with an era when commercial realism tends to trump enterprising creativity, SMiLE appeared as a connection to a time when innovation was not scorned but rewarded “” ironically by putting together the one “60s masterpiece that never was.
Mindy Smith”s name evokes the image of plastic blondes in skimpy beachwear living it up at the Playboy Mansion, not the reality of a writer and singer of beautiful country-folk music. Smith was in her early 30s before she finally released this, her debut album. Occasional visitor to this parish Stay-At-Home Indie-Pop (whose periodically updated 
Time was when Sweden burdened us with the regrettable likes of Roxette and Ace Of Base who were hauling in the glorious slipstream of ABBA. This decade, Sweden is a hotbed of wonderful Indie-pop created by artists who can create a catchy hook and an incisive lyric, even a cappela style. The Cardigans set the scene, but the godfather may well be Jens Lekman. Indeed, he gets namechecked, alongside Townes van Zandt, in what may be the best Swedish song of the genre, Hello Saferide”s The Quiz. Lekman turns out some rather good melodies, but the charm of his songs exist in the idiosyncratic lyrics. Take the upbeat You Are The Light: the protagonist gets arrested for defacing his girlfriend”s father”s Mercedes Benz at her prompting, and uses his one phone call to ask the local radio station to dedicate a song to her. There are startling surprises in many of his wry lyrics, but they aren”t contrived, and at times they are casually profound. That is an art in an age when so many people discern depth in Coldplay”s lyrics. And unlike Coldplay and their fellow worthies, Lekman is frequently very funny indeed.
Deb Talan and Steve Tannen were solo performers on the folk circuit when they met. They decided to collaborate, chose a stupid name for their duo, fell in love, married, moved to Topanga, California, and had a child, and in the interim have released three albums. It”s a happy story, with the title of their debut album an opportune portent. The harmonies are, as one would expect, lovely (especially on closing track Keep It There); none of the songs are likely to jolt the listener out of their comfort zone. But it”s not all predictable introspective coffeehouse folk stuff, and when it is (such as on the lovely Somebody Loved or Simple Life), it”s of superior quality. On other tracks, there are jangly guitars on the suitably upbeat title track, snowbells on the Christmas-flavoured All That I Want, bluegrass guitar on Vegas Baby. Perhaps the most affecting song is Tannen”s Dating A Porn Star, as good a country a song as one might find in this decade.
Dave Alvin is a flexible musician, at home in country, folk, blues, rock and punk. He has been a member of rockabilly band The Blasters (with his brother Phil) and the influential punk band The Flesheaters, and he wrote Dwight Yoakam”s country classic Long White Cadillac. Ashgrove is a departure from his previous albums, which covered either country and folk or bluesy roots rock (a genre title I despise). Personally, I prefer the country stuff. I”m not a great roots rock fan, but I do like it when Alvin does it “” his guitar work is terrific. As always with Dave Alvin, the lyrics are worth following; some of them are compelling. Two stand out: Out Of Control tells a hell of a story, and The Man In The Bed Isn”t Me is truly touching. The sequencing is a bit jarring, though, with the bluesy rock alternating with the country songs, preventing the set from settling into a coherent mood.
Every male singer-songwriter who enjoys any amount of critical esteem is likely to be compared to the tragic Elliot Smith, the genre”s eternal poet laureate (whose posthumously assembled collection of demos was released in 2004). Flattering though such comparisons are, often they are inappropriate and lazy. Ron Sexsmith”s sound has little in common with Smith”s, and his lyrics are more hopeful. Sexsmith also gets compared to Paul McCartney (and Happiness from Retriever sounds much like a Macca song), who has championed him. I suppose that the comparisons to Smith do not relate to sound or mood, but to songwriting chops. Retriever, like almost all of Sexsmith”s works, is a beautifully written. It”s a warm, gorgeous album, it embraces the listener in a comforting auditory blanket, aided by Sexsmith”s engaging voice and thoughtful lyrics. It”s not the kind of album, and Sexsmith not the kind of artist, that one turns to for a fix of challenging music; there is enough depth here to remove it from vacant pop, but it will not test the listener. It”s more of an old friend, instantly familiar and great company one is happy to seek out again.
This is one of those unexpected albums: loungey covers of Punk and New Wave classics, such as Love Will Tear Us Apart (here set on a beach), Teenage Kicks, Making Plans For Nigel, Too Drunk To Fuck, and Guns Of Brixton (the latter two of which sound like Gainsbourg songs here). It”s all very sincere and quite fabulous, rendered mostly in a bossa new wave nova groove. Nouvelle Vague, a project by Frenchmen Marc Collin and Olivier Libaux using a roster of female vocalists, does not aim for camp comedy or winks and nods. The exercise requires that the listener simultaneously forgets the originals, the better to understand them on Nouvelle Vague”s terms, and to remember them, so as to appreciate their imaginative reinventions. Some don”t quite work (such as The Undertone”s Teenage Kicks), others compare very well to the original, especially The Cure”s A Forest, The Specials” Friday Night Saturday Morning And PiL”s This Is Not A Love Song.
I can”t profess to be a great fan of the Australian accent, mate. And yet, it is always satisfying when non-American singers resist the temptation of adapting their accent for the international market. Melissa Higgins retains her strong Aussie enunciation, which can be grating but also helps to invest in her lyrics unblemished authenticity. Much of the lyrics are, or seem, intensely personal. Some of them are standard singer-songwriter fare, but there is much here that moves the listener, particularly the title track, about her sister”s death in an accident (featured 
Thank goodness for the technology of digital playlists. With this album, I”ll never need to hear the pointless noisy distortions on the 12-minute long Less Than You Think again, even as I applaud Tweedy and pals for their willingness to do something different (though that something almost rivals Lou Reed”s Metal Machine Music album for unlistenability). And, depending on my mood, I may skip the 10min-plus Spiders Kidsmoke as well, because the guitar solo really annoys me, by which I am doing the song an injustice. But the rest of the album is very enjoyable. It includes some of Tweedy”s best songs, such as The Late Greats and Hell Is Chrome. But the absolute highlight is “” and Wilco fans will have guessed it “” the opener, At Least That’s What You Said, which plods along with Tweedy in pensive mood until it explodes in gloriously angry guitars.
In 2005, Any Minor Dude had his first guitar lesson. The tutor, a session musician of some repute, asked the 10-year-old what he wanted to play, probably expecting to hear Green Day or Black Eyed Peas. Any Minor Dude responded: “Johnny Cash”. It had nothing to do with my influence; he had seen the wonderful video for Hurt on MTV, and became an instant fan. Soon after, he bought the Highwaymen CD (Cash”s supergroup with Jennings and Kristofferson) and polished up on older Cash music, even buying a live DVD. I suspect that Hurt, which features on The Man Comes Around, may have introduced many young people to the genius of Johnny Cash. It certainly established this album as the best known of the American recordings.
Few singers achieve such immediate intimacy with her listeners as Seattle”s Rosie Thomas, whose beautiful, vulnerable voice accompanies sweet acoustic melodies. Lovely though her songs may sound, her lyrics are in turn sardonic, sad and dark. On her debut album, childhood is a running thread, with what seem to be random old family recordings linking tracks. As all her subsequent albums (other than last year”s Christmas album), When We Were Small has a sense of deep yearning for absent contentment, fleeting moment of love to fill in long, lacerating periods of loss felt deeply. If that sounds boring, know that Thomas was signed by Jonathan Poneman of Sub Pop, the record label that made grunge, who had caught Rosie singing during her stand-up comedy gigs (what”s that about sad clowns?). This is an astonishing debut, and Rosie would get even better yet.
My pick of song from this album will alert the Wilco fan which side of the group I prefer: the alt-country Wilco. There”s some of that on Yankee Hotel Foxtrot, which many seem to regard as a highpoint of “00s music. Some Wilco purists may hate me for saying it, but my preference resides with this album”s 1999 predecessor, Summerteeth, or the undervalued Sky Blue Sky. On Yankee Hotel Foxtrot Wilco go experimental, with noise distortion and electronic innovations, which ordinarily are not my bag. Then what, the reader is entitled to demand, is Yankee Hotel Foxtrot doing on this list? Well, within the Wilco framework, it”s actually very good, and at times exhilarating as the musical dissonance accompanies the discord in the relationships Tweedy is singing about. It may not be my favourite Wilco album, but I”ll concede that it is the Wilco classic.
No artist I like ever comes to play where I live (other than Missy Higgins, whose gig I missed, and Counting Crows, whose tickets I couldn”t afford at the time); only megastars and superannuated irrelevancies fly in to fleece the South African consumer (a largely ignorant group of people who think that Coldplay is on the sharp end of the cutting edge). Happily, I had my fill of great concerts when I lived in London. But if I could invite one artist to tour South Africa, it would be Ben Folds, alone on strength of two DVDs and many bootlegs I have of Folds in concert “” and this album.
Maybe I”m cheating by including an EP comprising, as the title suggest, only four songs by Murdoch, who is usually compared to Nick Drake, and reasonable so. But those four songs are excellent; why dilute things with mediocre filler tracks? Having said that, Murdoch”s full debut album, 2006″s Time Without Consequence, turned out to be a consistently fine effort with few fillers. That album featured re-recordings of three of the songs on the EP (and those three also appear in re-recorded form on the recently released Away We Go soundtrack, which also recycles a heap of tracks from Time Without Consequence). From the EP, the moody Orange Sky received a fair amount of exposure on several TV shows and soundtracks “” which we must not scorn; the licensing fees from TV shows, soundtracks and commercials feed many excellent musicians.
Like soul music, country in the past decade or so has been molded and packaged to turn out generic, corporate slush headlined by the regrettable likes of Shania Twain, Carrie Underwood and Taylor Swift. For the most part, it”s pop that is unconvincingly dressed up as country. The cowboy-hatted diehards may have recourse to perennial Grammy nominees such as Tim McGraw and Alan Jackson, or the bluegrass offerings of Alison Krauss or, lately, Dolly Parton. But beneath the surface of commercial prosperity, country remains vibrant.
The Indie singer-songwriter has not produced anything I like since 2004″s Our Shadows Still Remain, but the trio of that album, 2000″s Come To Where I”m From and Redemption”s Son should sustain me in those times when I require a Joseph Arthur fix (actually, I”ve sequenced my favourite tracks from those albums on my iPod). Arthur”s strength resides in his introspective lyrics, much on this set of a Christian bent (of the Sufjan Stevens variety, I hasten to add. The man has his fill of inner conflicts). Musically, he is eclectic and experimental, which is certainly commendable and perhaps expected of a Peter Gabriel protégé, though I can do without the kitchen sink production of some tracks. And the album is a few songs too long. But when it hits the sweet spot, it”s gorgeous.
I know a venerable music journalist who”ll fling all review albums by anyone called Josh or Joshua (or, indeed, Ben) across the floor. It”s safe to say that the man is not a great fan of the often misunderstood and unjustly maligned singer-songwriter label. Still, I have a feeling he”d like Josh Ritter, though I”m not quite sure whether he would take to Josh Rouse. Certainly the music of this Josh would not conform to his expectation of a guitar strumming singer-songwriter. He might be surprised to hear a musician who creates appealing, intelligent pop numbers, many of which would not have been out of place on early Prefab Sprout albums. Under Cold Blue Stars is a fine album; if it was all Rouse would ever record, I”d regard it as a favourite. It was, however, followed by two outstanding albums, 1972 and Nashville. This set can”t compete with those (but it”s better than the two albums that came after those). I”ve had trouble deciding which song to feature, which is a mark of how good an album this is.
Sam Beam, for he is Iron & Wine, recorded the songs on this album, another debut on Sub Pop, as demos at his Florida home on four-track, and it very much sounds like it. Beam”s almost whispered vocals accompany very pretty but not necessarily memorable melodies. But it”s not that kind of album (whereas the follow-up, 2004″s Our Endless Numbered Days, had a few of those); you put it on to be immersed by a soothing and ultimately engaging atmosphere, aided by some astutely ambiguous lyrics. The deficiencies in sound quality make sense when Beam borrows from old country and bluegrass, as he does on An Angry Blade and The Rooster Moans, which one might well mistake for some old, lost Appalachian recordings. Indeed, the aural imperfections add to the set”s intimacy.
The early “00s suffered from nostalgia trips by people who grew up in the “90s: Ben Folds Five devotees who refuse to accept the Ben Folds One, Weezer fans who want Pinkerton perpetually recycled (and, to be fair, the latest Weezer album is awful), and Counting Crows devotees who need to compare every new Crows album to August And Everything After. The latter group was hard on Hard Candy. It may not be the (rather overrated) debut”s equal, but it certainly is more upbeat “” and Duritz finally stops going on about the heartbreaking Elisabeth. Admittedly, Hard Candy includes some filler material, but this is the age of WinAmp which allows the listener to re-sequence albums (if only to avoid the ghastly American Girls). If some of the album is frustratingly disappointing, the other half comprises some of Counting Crows” finest moments. Holiday In Spain is gorgeous, even if the album version is rendered entirely redundant by the gorgeous live version on the New Amsterdam album, which was recorded on the Hard Candy tour. Counting Crows have referenced The Band throughout their career; here their heroes get a namecheck by way of noting Richard Manuel”s death (even if The Band”s late, bearded singer serves only as a MacGuffin to a reflection on a relationship).
The are at least two types of Ben Folds fans: those who don”t think that Folds has ever topped the work he did in union with with Robert Sledge and Darren Jessee as the ironically named Ben Folds Five, and those who prefer his more mature solo output. Put me down as belonging in the latter group. While the very funny title track, the driving Zak And Sara, Annie Waits or Not The Same would fit snugly in the Ben Folds Five canon, Folds” solo debut exhibited a greater empathy for the subjects of his lyrics. On Rockin” The Suburbs (released on September 11), Folds took the baton from BFF songs such as Brick, Don’t Change Your Plans or Best Imitation Of Myself, musically and lyrically.
The first time I saw the Hedwig and the Angry Inch, I was gobsmacked. The curious storyline, the intense performances, the incongruous humour (black GIs in East Berlin!), the imaginative setpieces, the animation and costumes, and, above all, the fantastic music, written by Stephen Trask and performed mostly by John Cameron Mitchell as the genitally mutilated Hedwig, which ranges from ballads and punk to Ziggy-style glam rock.
Before the Idols franchise spewed forth disposable singers of debatable ability, at least in South Africa, televised talent shows in the country brought several artists of notable aptitude to the public”s attention. One of these was Judith Sephuma, born in the northern town of Polokwane (then Pietersburg) and a music graduate from the University of Cape Town. Her 2001 debut album is a captivating blend of jazz and Afro-pop which fully met, and even exceeded, the expectations observers had invested in the artist since her performance at the inauguration of President Thabo Mbeki in 1999, a year before she made a huge impression at the misnamed North Sea Jazz Festival in Cape Town (the local equivalent of the Montreaux festival). If the wonderful Randy Crawford had been South African, this is what she might have sounded like.
Much as I love Sandoval”s group Mazzy Starr, I struggled long and hard to “get” this album. It”s the sort of ambient set one needs to be in a perfect mood for (perhaps when one is recovering from a bout of inebriation). But when everything is set, it hits home in its quiet way. If Sandoval sounds fragile on Mazzy Starr, here you want to pack her in cotton wool and keep the volume low, just in case she breaks. The result is exponentially mesmerising and ultimately gorgeous. It”s not the sort of album from which one can pick a representative track (though I”ll try here); it works best as a body of music. If one is in the mood.
Last month Hawley released a masterpiece, Truelove Gutter. Without wishing to resort to hyperbole, I”ll claim with confidence that it is not only the best album of the year, but one of the best of the decade. Hawley, a former member of Britpop groups Longpigs and Pulp, has produced a series of delightful and always affecting albums that started with his full debut, Late Night Final (it was preceded by a self-titled EP in 2000). The gorgeously melancholy, late night mood of that great triptych of Hawley albums “” Coles Corner, Lady”s Bridge, Truelove Gutter “” is already evident here. His voice has now dropped a register and the arrangements have become more intricate since Late Night Final (on which Hawley”s country influence is still evident), but the basics of the Hawley sound, and the quality, are already there. The stand-out track is Baby, You”re My Light, which I featured on 
Death Cab For Cutie is one the most stupid band names in modern music. It evokes the image of shouting and wailing nu-metal emo types, or perhaps a death metal outfit that failed in conjuring a suitably satanic-sounding moniker. Death Cab are nothing of the sort, of course, nor do they deserve to be dismissed for featuring so prominently on the teen drama-soap The O.C. (which was actually quite good for a couple of seasons and featured some excellent music that otherwise would not have received wider exposure). The Photo Album is Death Cab”s transition album, still drawing from the Indie rock of the earlier albums but preparing for the almost symphonic feel of 2003″s Transatlanticism and last year”s Narrow Stairs. It lacks the diversity of 2005″s Plans, but like Plans and more than Transatlanticism, it does have tracks that stand on their own. This is solidly guitar-driven, ambient Indie rock, but more accomplished (or, purists might say, polished) than the four preceding Death Cab albums.
In 2004, Rilo Kiley released a brilliant album in More Adventurous. The preceding two albums are more patchy. Take-Offs & Landings borrows its influences widely, blows some alt.country over it, and voila. Sometimes it works, and there is nothing here that is really objectionable, but this is very much the work of a group still finding its way. Likewise, the wonderful Jenny Lewis is still discovering her voice, which here is still banking on its cuteness before it became the sexiest voice since Julie London”s. If all this sounds half-hearted, then that is not quite fair on an enjoyable album. It suffers not on its own merits, but in comparison to what the group and Lewis as a solo artist produced later.
At a time when soul music is dying a gangrened death at the hands of dancing corporate muppets and sexless nasal whiners, we ought to be grateful for the few artists who still refer to the rich heritage of the genre. So I find it difficult to sympathise with those who dismiss the artistry of Alicia Keys. OK, she”s not quite all that which the hype claims her to be, as a pianist or as a singer. Much of her material is bland. It”s safe to say that she cannot compare with, say, Roberta Flack. Judging only from her appearances at the Grammys (which I still watch for reasons I cannot comprehend; probably only for the In Memoriam section), I find her a bit smug, a bit corporate, a bit too convinced of her own genius. And yet, her albums includes a clutch of tracks which, had they been recorded 35 years earlier, would be noted as fine contributions to the canon of soul music, celebrating the derivations of her material as reflecting an astute choice of influences. Despite all the caveats I have raised, I”m glad that Alicia Keys is around.
Playing the song New Slang from this album, Natalie Portman”s character in the fine film Garden State promises Zach Braff”s protagonist that it will change his life. Without wishing to spring spoilers upon the reader who unaccountably have not seen the film, it indeed does so. The Portland, Oregon-based band”s debut thus broke out from the ghetto of Indie cult on the back of Braff”s championing. If the Kinks had been Americans recording their music in the “00s, this is what they might have sounded like. I have quite enjoyed The Shins” subsequent albums, which are musically accomplished, perhaps more than Oh, Inverted World. But if I want a fix of The Shins, it”s the debut I turn to.
What is it with all those people who are so quick to dismiss every Weezer album because it isn”t Pinkerton? It seems to be accepted wisdom that Pinkerton, one of the great albums of the 1990s, set some kind of standard that Rivers Cuomo and the other three chaps must live up to. The trouble is, by the time the Pinkerton evangelists listened to the other Weezer albums, they were no longer of an age when they locked themselves in their bedrooms because school and parents and jocks sucked and listened to Pinkerton in the recovery period between wanks. The Green Album is a fine album; it has some great tunes, it”s fun, it doesn”t challenge you; it does everything you”d want from a Weezer album. Island In The Sun is my cellphone ringtone, by the way.
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