10. Alone with Everybody – Richard Ashcroft: There’s gotta be an unwritten law that goes if you’re the lead singer of a band, you have to record a solo album. Traditionally, the lead singer records a new album similar to the group’s genre but completely different in style. Somehow, and don’t ask me to explain it, Richard Ashcroft has managed to do the opposite with new album Alone with Everybody. The style – complete with lengthy digressions and lyrics about relationships and life’s perplexions -- seems almost identical to the Verve’s previous recordings, but he seems to have changed the genre from rock opus to stringed introspection. While there are some fine cuts on Ashcroft’s first solo album, including “Song for the Lovers” and “Money to Burn”, it never really takes flight energy-wise. Still, there’s more than enough solid material here, which is how it squeezed into this year’s top ten.
9. Casual Viewin' - 54-40: It’s getting to the point now where we Canadians take 54-40 for granted. After all, it seems they’ve always got a new album out and they can be heard quite frequently on the radio, so hearing one of their new albums has almost become second nature. Casual Viewin’ is a great follow-up to 1998’s Since When, and a worthy entry in their long list of great albums. This album also has a lot of cohesion, and no filler tracks. In fact, it continues to pick up steam as it goes along. By the time you get to the phenomenal “You the One”, you’re really able to take a step back and admire the band’s musicianship. It’s only been the past few albums and tours that 54-40 has decided to add female back-up accompaniment on their tracks, but the addition is welcome and quite refreshing. Overall, Casual Viewin’ is a fine recording, bound to spawn many hit singles.
8. Machina/the Machines of God - the Smashing Pumpkins: “It’s a Backstreet world and I want to kill myself”, muttered Billy Corgan, when asked about the Smashing Pumpkins’ release Machina/the Machines of God. Corgan, in a self-absorbed but refreshing way, spoke nothing but the truth, and if anybody had tried their damnedest to save rock and roll this year, it was the Pumpkins. Sadly, though, they were forced to come to terms with a dwindling fan base and a record label that proved to be almost as stubborn as Corgan himself, and the group was laid to rest. I gotta admit, there wasn’t a whole lot keeping me captivated when I first listened to this release, but it definitely grew on me, particularly tracks such as “This Time Around”, “The Everlasting Gaze”, and “Wound”. It’s a little too radio-friendly for my liking, but it sure beats living in a Backstreet world.
7. All That You Can’t Leave Behind – U2: In a juggernaut advertising campaign, the highly anticipated new album from U2 promised a great deal but delivered only some of the hype that proclaimed “U2 have returned to save rock and roll”. Now, don’t get me wrong, All That You Can’t Leave Behind is a great album, certainly one of the year’s best, but it certainly hasn’t saved our ears or our souls for that matter. As a band, one of U2’s strongest attributes is their ability to flesh out how a song should sound before they record it. They know that a song titled “Grace” needs to have a wavy, synth-heavy, Brian Eno feel to it. That a song titled “Walk On” needs to be majestic, brave and punctuated in its melody. That a song titled “New York” needs to encapsulate the eclectic scenery and sounds of 5th Avenue in its lyrics and chorus. This album is certainly a fun spin. But I can definitely think of other bands that truly saved rock and roll this year.
6. Music @ Work - The Tragically Hip: If ever a band needed a fresh bounce back from an album, it’s the Tragically Hip, who uncharacteristically missed the mark with their 1998 release Phantom Power. On their latest, Music @ Work, lead singer Gord Downie rushes through the lyrics on practically every song, and the tempos are quicker, the melodies are fresher, and the songs themselves are shorter in length across the board. Tracks like “Tiger the Lion” and “Freak Turbulence” seem very much like departures in style, but this is a good thing for a group that is constantly being accused of having too many songs that sound the same. By the way, I finally got to see them in concert and they put on a wonderful show.
5. Reload - Tom Jones: On the liner notes, it says that Reload was released in 1999, but I’m pretty sure it was not available in Canada until 2000. Not that that matters – what matters is that it’s a fantastic album. What a fun time I had hearing Tom Jones tackle Lenny Kravitz’s “Are You Gonna Go My Way?” with Robbie Williams, the Talking Heads’ “Burning Down the House” with the Cardigans or Iggy Pop’s absurd “Lust for Life” with Chrissie Hynde! This is a logic-defying album filled with duets that hit just the right tones from beginning to end. Tom’s voice has never been better, his accompaniment never zestier. Let’s face it: in the year 2000, very few artists can successfully pull off a song with a title like “Sexbomb”, but in his cheesy, girdle-sporting way, Jones does. And as always, he does it in spades.
4. Kid A – Radiohead: There is no apparent beginning, middle or end to Radiohead’s much-heralded Kid A – only the experience of absorbing it. That’s about as clear a definition of this album I can provide without sounding like some Zen yoga master. Years from now, Kid A will probably still be praised for many different musical directions, styles, and moods, but I’m pretty sure it will not be regarded as their best recording. For one thing, only certain tracks linger after the album has finished playing, and one look at the titles on the CD sleeve reveal some were almost forgettable entirely unless you were really paying attention. Some tracks have no lyrics, and those that do feature Thom Yorke’s voice so thoroughly mutated, you can’t tell if it’s man or machine spinning the technological yarn. Still, the album works on a relaxing yet disturbing level, and showcases the next plateau of Radiohead’s ever-evolving journey towards sonic perfection.
3. Machina II/The Friends and Enemies of Modern Music – the Smashing Pumpkins: One of the best recordings of 2000 was not even available in stores. The brilliant final album from the Smashing Pumpkins, Machina II/The Friends and Enemies of Modern Music, was released in the spirit of a grand middle finger gesture to their obtuse record company, who would not allow the band to compose a full-scale musical trilogy. Ironically, in almost every instance, the tracks left off of the company-approved release Machina/the Machines of God, were much better all around. From the soaring “Real Love” to the aptly saccharine tones of “Innosence”, the Pumpkins finally returned to the pairing of lyrics and sound so expertly perfected on their early 90s releases. Comparing Billy Corgan’s desperate pleas on Machina II’s “Let Me Give the World To You” to some of the production-drenched tracks on Machina I (i.e. “Stand inside Your Love”), one quickly realizes this band ended up with the worst results out of some of their best music ever.
2. Halfway Between the Gutter and the Stars - Fatboy Slim: It’s funny how prolonged exposure to a particular album can cause preferential treatment. Halfway Between the Gutter and the Stars initially sat at the #5 spot on my album list this year. It didn’t take long, though, for me to bump it up to #2. It’s fun, funky, and even at times moving, something most techno albums rarely accomplish simultaneously. But that’s precisely what occurs on tracks like “Demons” and “Drop the Hate”, where relationships and racial issues are addressed amidst a swelling fusion of pop and gospel combined. The opening two tracks, “Talking About My Baby” and “Star 69”, have some samples that are expertly weaved into the 11 minute final track, “Song for Shelter”, giving this excellent album a cyclical feel. By delving into pop music’s past, Fatboy Slim is quickly becoming a powerful musician of the future.
1. Silver & Gold - Neil Young: While 2000 was a great year for music, a lot of the offerings seemed quite layered and complex in their execution. That may be why Neil Young’s Silver & Gold managed to claim the top spot on my list this year. In its simple, heartfelt way, it towers over other recordings by evoking images of him, his harmonica, and his guitar, alone in a studio. Young is solid when it comes to great melodies and guitar genius, but Silver & Gold sounds like an album he may have wanted to record in his earlier years, yet didn’t have enough life experience or weathered vocals to pull it off. Until now. As an artist approaching his twilight years, he has recorded an album filled with nostalgia, introspection, and reflection, and we are certainly much richer for it.
Honourable mentions:
Both Sides Now – Joni Mitchell: Of all the artists I would love to hear a cover album from, Joni Mitchell is definitely way up there, because let’s face it – her songs are covered by other musicians on an hourly basis. On Both Sides Now, Mitchell inhabits the songs she covers in a truly unique and personal way. Who better to cover a classic like “Stormy Weather” than a singer/songwriter who has lived it. Other memorable tracks are “At Last”, “You’ve Changed”, and “You’re my Thrill”. All the songs culminate towards the closing title track, and Mitchell certainly doesn’t disappoint, even when covering her own material. Her lyrics, vocals, and music have all matured and the song now takes on a haunting, longing feel as opposed to the slightly optimistic, innocent tone it had when it was first recorded over 30 years ago.
Music – Madonna: Rolling Stone magazine included Madonna’s latest release, Music, in their list of the best albums of the year. On that recommendation alone, I bought it during a Boxing Day sale for less than most used CD’s cost, and actually found myself agreeing that it is in fact a quality recording. Madonna will always continue to march to her own drum, but musically she’s now switched over to marching to her own drum machine, and the results are consistently compelling. From the grinding opening title track to other production-heavy songs such as “Don’t Tell Me” and “Runaway Lover”, there is an energy channeled into every cut that is refreshing. Who knows what the reigning Queen of Pop will do next. After listening to her Music, who really cares?
Maroon - Barenaked Ladies: As Icarus flew too close to the sun and went spiraling toward the earth when his wings melted, so too did the Barenaked Ladies rest on their laurels and record a lesser album in 2000. There is nothing wrong with Maroon, but there isn’t a whole lot that’s exceptional about it either. It simply is. And for this unique and always fascinating band, that comes as a bit of a disappointment. Gone are the flood of quirky lyrics and witty repartee; they have been replaced with songs about affairs “Conventioneers” and the ills of commercialism “Sell Sell Sell”. Fans don’t listen to the Ladies to be lectured, yet there are several tracks that feel that way. Add to this a surprising lack of energetic cuts, and you’ve got a mediocre effort, but still worthy of at least a few spins.
Renegades – Rage Against the Machine: Hey, it was worth a try. I have secretly enjoyed the music of Rage Against the Machine for several years now, but am not a fan of the language they use. I thought their latest, an album of covers, would be cleaner. After all, there was no warning label on the CD and I listened to a few tracks in the store before my purchase and all seemed well. Suffice it to say, there was some language here and there, but overall the album was still quite good. Renegades is hyper and raw, and has lots to offer, from the wonka-wonka sounds of Parliament’s “Renegades of Funk” to the brilliant cover of Bad Brains’ “Kick out the Jams”, there’s something for the thrasher in all of us. And what more could you ask for.
“If you’re going to release a single, throw in some decipherable lyrics, please” award: Papa Roach and Limp Bizkit
Best new artist: Nelly Furtado
Worst video of the year: “Music” – Madonna
Most bizarre concept – the phenomenal popularity of Survivor
FAVOURITE MOVIES OF 2000:
5. Crouching Tiger, Hidden Dragon
4. The Patriot
3. High Fidelity
2. Cast Away
1. My Dog Skip
THE BEST TV SHOWS OF 2000
10. The West Wing
9. Whose Line Is It Anyway?
8. Boston Public
7. The Simpsons
6. The X-Files
5. Dawson’s Creek
4. Ebert & Roeper at the Movies
3. Big Brother
2. The Practice
1. ER
THE BEST SONGS OF 2000
10. The Everlasting Gaze – Smashing Pumpkins
9. Stronger – Britney Spears
8. Casual Viewin’ – 54-40
7. Lake Fever – the Tragically Hip
6. Beautiful Day – U2
5. Music at Work – the Tragically Hip
4. This Time Around – Smashing Pumpkins
3. You the One – 54-40
2. The Great Beyond – R.E.M.
1. Crash and Burn – Savage Garden
THE BEST VIDEOS OF 2000
3. Stronger – Britney Spears
2. Natural – S Club 7
1. I Think I’m In Love with You – Jessica Simpson
