TOP 10 ALBUMS OF 2000-2004

After reading Stylus Magazine's Top 50 Albums of 2000-2004, I was tempted to do just this, and compose a list of my own, yet on a quite smaller scale. Stylus composed a solid list, but it was dominated by too many novelty rap albums and lacked a lot of important albums made in the "00's". So here is my short rebutle, although you will find portions of this list do agree with Stylus. (I admit this list is very incomplete and bias)

Justin Gregory

10-The Strokes-Is This It

9-The Shins-Chutes Too Narrow

8-The Polyphonic Spree-Together We're Heavy

7-Blur-Think Tank

6-Sigur-Ros-(  )

5-Fiery Furnaces-Blueberry Boat

4-Modest Mouse-Moon & Antartica

3-Interpol-Turn On the Bright Lights

2-Radiohead-Kid A

1-Wilco-Yankee Hotel Foxtrot

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Blur-Parklife

Rating: 10.0

Review By Justin Gregory

It may seem quite ironic that I review two of the most successful Brit-pop albums of all time, right next to eachother yet, at seperate times. All things aside, Parklife is the best Brit-pop album, although it may not have captured the spirit, musically Parklife is the best.

While most albums of the Brit-pop era were more about the lower-class, especially Pulp, Blur made albums that were more an observation of certain times and places. Some have said that Parklife is about the inner-city crowd, while The Great Escape is about the suburbs. This statement is true in some respects, but also shows how many people misunderstood what Parklife was really about. Now about the music:

Parklife is basically split in half. A 16 track album, Parklife splits down the middle, tracks 1-8 and tracks 9-16. I say tracks because Parklife isn't all proper songs. Blur makes this album unique, as with what they did on Modern Life is Rubbish, creating minute-or-so instrumentals and jams to break up songs. The first half of Parklife holds all of the singles except the epic "This Is A Low". Unlike on later Blur albums, the singles flow with the album and aren't a huge departure from the record, as with "Crazy Beat" on Think Tank.

What makes Parklife a classic, is the range of its lyrical content. From heartbreaking ballads such as "In the End" to views from above, "London Loves" and "Trouble in the Message Centre." Not only are the lyrics

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Oasis- (What's the Story) Morning Glory?

Rating: 8.7

Review by Justin Gregory

Oasis has a tendency to write songs that sound like they are the most important song ever written at the moment. From the chopper noise and repeated lick intro to "Morning Glory" to the sonic buildup of "Champagne Supernova" these are the touches that drive home the point. This is also of the sound of the biggest band (at least biggest British band) of the time and the band knows it. Morning Glory has sold 7.9 million records to this date and it's not a surprise, it is almost a hit compilation.

Of the ten proper songs (there are actually 12 tracks, two of them are untitled and instrumental intermissions) half of them are singles. On top of that, just about any song on this record could easily fare well on the 95' British music charts. That's what makes this album so tough to love as a pretentious music snob, yet so hard to resist.

Morning Glory opens with "Hello," which rumbles in with what sounds like no other than Oasis. "Hello" is one of the more impressive tracks lyrically and is a great opener. "Roll With It" starts up and as a Blur fan, you know the amount of importance this song had to Brit-pop and its eventual end. "Roll With It" is not a bad song but doesn't expand much on the new found style of Morning Glory compared to the much rougher, Definitely Maybe.

The lyrical content of this album displays almost an regretful feeling for the fame Oasis has received. Some tunes speak of "the point of no return" that Oasis was experiencing. Bright spots for lyrics are "Hello" and "Hey Now!," making the non-single tracks much stronger. (What's the Story) Morning Glory? is solid, and very accesible, especially compared to the much rougher Definitely Maybe.

Radiohead-Hail To The Thief

Rating:7.0

Review by Justin Gregory

Just like partner writer, I have a favorite  band, as most people do. If you didn't know, Radiohead is my favorite band. Have been for more than 2 years now, since I fell in love with OK Computer, which I purchased on my twelveth birthday. I even bought HTTT the day it came out, June 10th last year. See, I have it memorized, ha. Enough about my fascination with Radiohead, let's talk their latest.

Hail To The Thief, is mostly a combination of Kid A, Amnesiac, and some dashes of contempary rock(U2), to make it more accesible, supposedly. The problem I have with it is, it has absolutely no  longevity at all. For example, when I think about Radiohead records I think Pablo Honey-Amnesiac, the same when I think about songs. I have almost forgotten about HTTT, though it is a decent record.

Hail, opens with the explosive, 2+2=5, which is just the tip of the politics in the record. Though the band denies that the title of the album, is commenting on the 2000 US Election, it's hard to believe after a short study of the lyrics. The repetitive track, "Sit Down, Stand Up" follows slowly until bursting into a techno freak out, a nice touch. Then, the first ballad of the record, "Sail To The Moon"  chimes in. Definately better than the other piano song, "We Suck Young Blood". Later the single "Go To Sleep" starts to rock, and bend until it is cut short. This is another complaint I have with the record.

Since I was so into Radiohead, I downloaded all the bootlegs of them playing these songs live. And again, Radiohead proves they are better live, than on recording some how. Mostly because songs like "Go To Sleep" used to, in concert, have a 1-minute solo by Johnny, vastly improving the song. The other single, "There There" was also tuned down, for record, "Wolf At The Door", was also. This does not help HTTT.

Maybe I am being  a bit harsh but this record is not what the critics "hailed it" (pun intended). But a mere second best to other  Radiohead albums. Hopefully Radiohead will not turn in the direction of looped and repeated, techno tunes with just Thom's voice to offer. But, that's just wishful thinking, for now I'll just keep listening to my scratched up copy of OK Computer.

The Strokes-Room On Fire

Rating: 8.7        Review By Justin Gregory

   I remember when The Strokes went on MTV2, to do the first $2 bill concert ever. I thought they were horrible. I especially didn't like the singer, Julian Casablancas. They seemed like a gimmick to me, and plainly, I just didn't like their sound. Well, those days are gone, when I listened to bad punk rock, and alt-rock anthems. I was lead astray, I guess. After I became a big indie fan, I decided to buy The Stroke's debut, Is This It. I actually, really liked it and listened to it for awhile and forgot about them. But, MTV2 plays another roll in my love/hate for the Strokes. I saw the video for "Reptilia" and suddenly remember how cool they were.

I finally bought Room on Fire the night I left for my school trip to Washington DC. Let's just say I listened to this record almost too much and I still listened to the album when I came back. There was a reason of course.

The Strokes have mastered making catchy, guitar licks, and vocals hooks. Only a few of their small catalog don't get stuck in you head easily. From the reviews I have seen, Is This It, has received the better of the two. Mostly because, a lot of critics can't see a difference between their two albums. I can, and Room on Fire is the better of the two in my opinion. Room on Fire, has a lot less reverb, more guitar "licks" and better solos.

Unlike Is This It, Room on Fire, is more of a song driven record. As I said earlier, reverb was really cut down on, and especially the dirty sounding guitar. Which brings to another point, The Strokes don't have a lead guitarist. Albert and Nick trade off on solos, and on rythm, lead lines. This adds an nice touch, considering they use completely different guitars.

The songs: "Automatic Stop", the best song on the album, easily could have been a very successful single. Too bad the mediocre follow-up, "12:51", was chosen. Much progression is shown with the ballad, "Under Control" and "The End Has No End". This record, in my mind, has much more replay value than their previous album.

Wilco- A Ghost is Born

Rating 8.9             Review By Mike Edgerton

If you don't like "long songs" don't buy  this album. The best song on the cd would have to be Kidsmoke. It takes a while to get into the good stuff but the song wouldn't be the same without the 1:18 min of baseline leading up to the lyrics. The song lasts about 9 min and there are countless solos, the song is basically like a poster song for the whole cd. This is a mature indie fans cd by far. There are a couple moments when you want to say enough already with the solos but after repeated play you find yourself liking the countless solos and even wanting more. If you are new to indie or just a casual listener I don't suggest buying this cd yet. But, we don't do our reviews for casual indie fans so I judged this with a hardcore indie fan in mind. The bottom line is that this is definitely Wilco's most mature album to date and should be recognized as a experimental rock album. Take some time to listen to it and try not to be impatient. If you do those things you will enjoy the album. If you are incapable of doing those things don't buy the album. 

Dizzee Rascal-Boy in Da' Corner   

 Rating: 6.9                            Review By Justin Gregory

UK Garage is a relatively new genre, even though being rap, is being lumped into the indie scene. Unlike the over produced, catchy, American hip-hop, UK garage, is much more rough and raps about much more complex subject matter. For example the hit single from Petey Pablo "Freek-a-Leek" is about a girl, "getting it" from various places. Dizzee Rascal usually does not choose to rap about these things, suprisingly.

Enough about neglecting Americana style, Boy in Da Corner opens with the open, and dark "Sittin' Here". With lyrics that contemplate "sleeping for days" and many other things. "Sittin' Here" is a dreamer looking at East London's ghetto, and responding with a very hapless view. The single "I Luv U", the third track on the album, actually talks about the ladies. A seemingly ode to a "love-hate relationship", Dizzee and a woman's voice spit back in forth in the chorus, til the talk dissolves into "Oh' well".

Later, the track everyone bought the CD for, "Fix Up, Look Sharp", which is actually one of the more unique songs on the booms, its drum beat. A side note, this beat and its vocal line "I've got the big beat..." is completely sampled. "Fix Up, Look Sharp"'s lyrical content isn't much, more of a freestlye. The moment where Rascal actually captures a certain subject, is on the track "Jezebel" about a lost girl, who sleeps around and just doesn't have her life straight. Dizzee seems to show a skeptical look at love life with this track, and throws warning to girls who sleep around.

For a debut, this is a excellent start. But some tracks fall under the skip-over category. With time Dizzee Rascal could become a big rapper, atleast in England. And who know's, maybe UK Garage might explode here in the states. Na, problably not.

A Crow Left of the Murder    

Rating 6.8       Review by Paul Fernandez

     As most of my fellow writers know, I am a huge Incubus fan. I have been for years. With the departure of former bassist, Alex Katunich aka Dirk Lance, the band suffered a huge blow. As most people fail to realize, Dirk Lance was one of the best bassists in his genre. Looking back on the previous Incubus albums such as S.C.I.E.N.C.E and Fungus Amoungus, the slap bass used for funk is very difficult. Dirk rivals Flea, bassist from the Red Hot Chili Peppers, and it appears on those albums.

Also a great talent Incubus has is the balance of their music. There is no one instrument providing the drive of the music because all members have equal balance. Which develops a problem with Ben Kenney as a weaker bassist. I do admit that his basslines are solid but he does not provide what Dirk Lance had. Also, he uses a damn pick sometimes. I am a bassist and that annoys the hell out of me. Ben was with the Roots before Incubus, playing Hip Hop. He admits that he did not enjoy it but if it makes you some coin and you do it well, you've succeeded above me.

Which brings me to A Crow Left of the Murder.... Well I am somewhat disappointed with this albums balance. But what Ben lacks, the band brings their best. Though when i hear the underlying basslines i keep thinking to myself "Give em another album and it'll be set". The vocals are strong, the drums are solid and as usual work perfectly, and the guitar is experimental and Mike Einziger's solos are amazing. I love most of the songs although. They are really driving and melodic. I especially like the songs A Crow Left of the Murder, Beware! Criminal, Sick Sad Little World, Pistola, Talk Shows on Mute, Priceless, and even sometimes Megalamaniac (Its a good song but...yeah the video, i'm not into either). Though all the songs are basically good in my opinion. Pistola has a good guitar solo and Talk Shows on Mute has a good jazzy solo by Mike. You can form your own opinion but i have mine...

The new album is good but not their best. ACLOTM is a good rock, jazz, experimental sounding (from Mike Einziger's guitar pedal line-up) album.

Though Incubus did live up to it's style (Every album is different). If you want a good Incubus album this is one. If you like funk-rock go for the older stuff. If you like more experimental music fused with Eastern Sounds and rock, the more modern stuff is for you... I like this album and its worth your money but it isn't their best... No matter what you think, Incubus is a great band and they have talent that can blow you pipe dream universe of music theology if you listen.