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The White Stripes' "Under Great White Northern Lights" (2010)
(March 16, 2010)
Review:
On their first live album, Jack and Meg White deliver adrenaline-fueled, frenetic performances of some of the best material from their catalog, tearing through each song with a raw energy that displays a simultaneous mastery of and disregard for form.
Top Two Tracks:
“Blue Orchid” & “300 MPH Torrential Outpour Blues”
By Chris Moore:
I’m glad you’ve decided to tune in once again for what is the penultimate segment of the Weekend Review’s list of “The 50 Best Rock Albums of the Decade, 2000-2009.” As we draw nearer and nearer to the top picks of the past ten years, I’ve found myself returning to not only the music on this list, but also to the all-time great albums in rock music history. I just wrapped up a rotation of the Beach Boys’ 1971 classic Surf’s Up, and I continue to stand in awe of the variety, the flow, and the conceptual focus of this record. Decades have passed, but the excellence of this album has not.
As I’ve compiled this list, I’ve been doing a lot of thinking, specifically wondering which albums that I love now will be the ones that I will dial up in years to come. Which albums will I play ten, twenty, thirty years from now and still experience the same emotions as I listen? For that matter, which albums will offer up new insights and feelings, even after double or triple digits worth of plays?
With all this in mind, I present to you my #11-20 albums of the 2000’s. Don’t forget to hurry back tomorrow for not only the top ten list, but also the full Weekend Review article about the Number One Best Rock Album of the Decade.
11) Room For Squares (2001) – John Mayer: John Mayer didn’t develop the respect of the critics until after this record, specifically after going through a blues phase wherein he jammed with a number of highly authentic and credible singers and guitarists. What seemed out of place to me was the order of events — shouldn’t the roots apprenticeship come before an artist develops his own unique and entertaining style? Well, in this case, Room For Squares established Mayer as a writer of catchy pop music that had a backbone. It’s all in the subtle details here, the guitar stylings and the recurring lines that repeat across multiple songs. The packaging further suggests that this was a well thought out and executed album, one of the best of the decade.
12) Chaos and Creation in the Backyard (2005) – Paul McCartney: As he did with his great 1997 album Flaming Pie, McCartney took on nearly all of the instrumental duties for this record, and the result is another excellent addition to his catalog. And, if we’re being entirely honest, McCartney is known for his tremendous success post-Beatles, if perhaps not so much for his outstanding albums. And yet, Chaos and Creation in the Backyard is one of the two McCartney works to make this list. It’s simple, really: great acoustic fingerpicking, great drums, and overall great songs make for a great album.
13) Mind If We Make Love To You (2002) – The Wondermints: Better known as the core of Brian Wilson’s talented backing band throughout this decade, the Wondermints deserve as much, if not more, appreciation for their own work. They somehow managed to be strongly influenced by the Beach Boys while avoiding being entirely derivative, instead carving out their own beautiful, upbeat brand of power pop. Mind If We Make Love To You is truly their masterpiece; it is catchy without being annoying, and it manages just the right balance between a classic and a contemporary sound. Not as easy to find as a Brian Wilson or Beach Boys album on the shelf, but well worth the extra effort.
14) Love and Theft (2001) – Bob Dylan: Released on September 11, 2001, this album was immediately read as an apocalyptic sequence of songs that felt like the soundtrack — some sort of oddly real-time soundtrack — for the greatest national tragedy of the decade. I’ll admit that there were some lyrics that were difficult to ignore, especially the reference to twins falling down — but the context is all off, as the twins are the bumbling Tweedle Dee and Tweedle Dum, not buildings. Still, Love & Theft came on the heels of Dylan’s 1997 “comeback” album and, with the easy “comeback” tag no longer available, critics were likely looking for a lens through which to view this album. Nearly a decade later, forget the 9/11 lens, and you are left with an outstanding album, easily one of Dylan’s best. And this is saying quite a bit if you consider even his sixties albums alone. Some of his last true rock and roll is documented on this record, and even the more folky, dated sounding styles shine in all their glory, tight instrumentals and raw vocals driving all the pieces together. Listen to “Mississippi” and try not to be hooked. Even better, try “Honest with Me.” If you can resist loving these tracks, you should probably recalibrate your tastes in great rock music.
15) Everything To Everyone (2003) – Barenaked Ladies: Even the tracks that make you shake your head when you really think about them are fun and add to the feel of this excellent album. That is perhaps the best, most true statement I can make for Everything to Everyone, an album that manages to hit on all the major types of songs — happy songs, sad songs, protest songs (of sorts), love songs, post-breakup songs, and more. The aforementioned “Another Postcard” and “Shopping” are the standout tracks that demonstrate the Barenaked Ladies’ singular ability to successfully walk the line between ridiculous and outstanding. The true standouts are songs like “Celebrity” and “War on Drugs” for those that like serious, thoughtful lyrics, “For You” for those who love beautiful acoustic numbers, or perhaps “Testing 1, 2, 3” and “Second Best” for those that prefer downright fun rock music. The sound is unsurpassed on any of their albums, before or since, and I can’t fully describe how much it feels like home to return to this album and let it play through time and again.
16) Welcome Interstate Managers (2003) – Fountains of Wayne: Rarely has a band produced one album with so wide a variety of styles represented and yet still maintained form and focus. From the eighties pop-rock of “Stacy’s Mom” to the hard rock of “Bought For a Song” and back to the straight up country stylings of “Hung Up on You,” Fountains of Wayne have created their masterpiece — at least for now — in this album. Preceded by solid if somewhat pedestrian records and followed by a lame attempt at either humor or conceptual continuity, Welcome Interstate Managers is one of those albums that feels like a greatest hits collection in that each track begins with a catchy, memorable part that keeps your interest. And, by the time the pretty yet somber “Yours and Mine” fades out, it is the rare occasion when I can control the urge to crank the volume up further for “Mexican Wine” again. This is one of my favorite albums of the decade, and I’m truly indebted to the friend who turned me on to it so many years ago.
17) Accelerate (2008) – R.E.M.: My purchase of Accelerate last year set me off on a quest to find other great R.E.M. albums. I’ve steadily, if randomly, been acquiring their studio albums (as well as a really quirky B-sides and rareties collection) and my reaction has been the same with each: it’s not Accelerate. This is an album that finds Michael Stipe at the top of his lyrical game, putting his gritty vocal chords to perfect use on these wonderfully subversive songs. Track after track, this is one of the most underrated rock albums of the decade and, thus far, my pick for the best overall album in the R.E.M. catalog.
18) Memory Almost Full (2007) – Paul McCartney: The second of McCartney’s two excellent albums this decade. Two years after Chaos and Creation in the Backyard, McCartney had returned to the studio with more energy and electricity than he had brought on perhaps any previous record. One listen to “Mr. Bellamy” will demonstrate just how willing he was to experiment with more modern forms of rock music as well. Speaking as a big fan of Paul McCartney’s work throughout his career — yes, even including Wings! — this was a stronger, more fun and rocking album than I could ever have hoped for. Even if you don’t like his music, it’s worth buying this album just to play with the multi-layered packaging…
19) SMiLE (2004) – Brian Wilson: Nearly four decades after the SMiLE sessions crumbled around Brian Wilson’s mental decline, he returned with a final sequencing of songs that, as a whole, added up to much of the not inconsiderable hype and legend surrounding this album. Click HERE for my full review.
20) Maladroit (2002) – Weezer: Crunchy guitars and catchy vocals drive the most tightly composed music in the Weezer catalog. And, in many ways, Maladroit is the pinnacle of Weezer frontman Rivers Cuomo as a guitarist and as a songwriter. It caused a great deal of debate among fans, and I think it is apparent where I fall in — strongly on the side of reading this album as one of the best, not only of the band but of the decade.
Interpol (Interpol, 2010)
(September 7, 2010)
Review:
Interpol sounds like U2 and Dave Matthews organized a melancholy orgy in Radiohead’s basement.
Top Two Tracks:
“Summer Well”
** This is the third in a five part series of music reviews, counting down from the #5 to the #1 albums of the decade, 2000-2009. On January 2nd, 2010, the #1 album will be revealed, along with the complete Weekend Review picks for the Top Thirty Albums of the Decade. **
By Chris Moore:
RATING: 5/5 stars
Ben Folds’ 2001 solo debut Rockin’ The Suburbs is one of those rare albums that thoughtfully balances all-seeing self-confidence and heartbreaking vulnerability.
It is also one of those albums that has gone largely unappreciated.
At the time of its release — September 11, 2001 to be exact — the album received moderate reviews and modest numbers on the album and singles charts. Folds’ subsequent records have also been dismissed by many sources, holding steady around the three star mark from major reviewers like Rolling Stone. Still, his more recent work has scored higher on the charts, with Songs For Silverman earning the “mature record” stamp and Way to Normal garnering an inordinate amount of attention from the media, as well as the distinction as Folds’ highest debut on the Billboard charts.
Say what you will about his other work — and Songs for Silverman is a truly great album — but he has never matched the sound, feel, and overall conceptual focus that was present throughout Rockin’ the Suburbs. Listen after listen, the latter reveals itself to be an exploration of that most basic of all human conditions: loneliness.
Whether intentionally or not, Folds is making statements, track by track, about what it means to confront the truth that, in the end, we’re all alone. His contemporary landscaping lends itself to this task quite well, as he sets his songs in cubicle-dominated office buildings, behind the doors of extravagant corporate offices, at funerals, and in any number of mundane suburban settings frequented by aimless and/or lost young people.
This was an album I could relate to as a young college student, beginning to think about the world around me and the career — the life — ahead of me.
Likewise, nearly a decade later, this is an album that not only has meaning for me as an adult, but that I also expect will speak to me in decades to come when I find myself, as Michael Stipe would say, staring down the barrel of the middle distance.
Ben Folds' "Rockin' the Suburbs" (2001)
“Annie Waits” is the ideal opening track, establishing mood with the tale of solitary Annie, waiting on a call that never comes, expectantly watching the cars driving past and wishing she was alone. Alone, there would be no expectation, there would be no disappointment. There would be no vulnerability.
The second track moves quickly into the territory of the disenfranchised, featuring two young people, uniquely spelled names and all, screaming out loud to a world that’s not listening. Zak is the more introverted of the two, choosing to plunk away at guitars, while Sara is rattled by the dreary banality, choosing instead to verbally lash out against a car salesman. Even Sara has to snap out of it in the end, clapping at the end of her song.
“Still Fighting It” is certainly one of the most personal songs on the album, written as a direct statement to his son. While expressing the pure joy of fatherhood, Folds also notes that “everybody knows it hurts to grow up,” recalling that “it was pain, sunny days and rain; I knew you’d feel the same things…”
The next four tracks can be viewed as various takes on separation and loneliness. It begins with “Gone,” a rant against an ex-lover who moved on too quickly, and concludes with “Losing Lisa,” the lament of a lover uncertain of what he’s done to merit a break-up.
The interceding tracks introduce the two sides of a coin all too often stamped out by a contemporary, corporate world that values profit over personality, hubris over humanity. “Fred Jones Part 2″ describes the final day of a man who has spent twenty-five years working for a newspaper at which he has remained utterly anonymous. “No one is left here that knows his first name,” Folds sings. He continues, “Life barrels on like a runaway train where the passengers change; they don’t change anything. You get off, someone else can get on.” And so Mr. Jones goes quietly into that good night, ostensibly to conclude a life lived without meaning or true substance.
In other words, a life that many modern-day office workers are in danger of living.
“The Ascent of Stan” an equal and opposite life journey. Stan is described as having been a “textbook hippy man, and yet somewhere along his path he chose to play the game that would earn him the prestige, the paychecks, and all the financial security that accompanies them; this leaves him, of course, morally bankrupt.
“Carrying Cathy” and “Not the Same” follow the stories of two people who have become lost. Cathy ends up committing suicide, leaving the narrator with nightmares and regrets. The subject of “Not the Same” takes LSD, climbs a tree, and returns to the ground as a born-again Christian. In a sense, the latter song centers around the narrator’s disbelief that he has seen so many people change, “drop like flies from the bright, sunny skies,” and he is left alone with “one good trick.”
For all the bleak subject matter that dominates much of the disc, it is easy to dismiss the levity that the title track offers as contrary to the overall tone of the album. And yet “Rockin’ the Suburbs” is Folds’ signal to his audience that he has put all things in perspective. If nowhere else on the album, it is on the title track that he lets all the walls fall down to reveal his sense of humor and unique perspective in as uncensored a manner as possible.
Go ahead and watch the music video. Try not to laugh, I dare you.
“Fired” continues in the same vein as previous tracks like “Losing Lisa,” describing the painful revelations of the narrator.
Finally, and perhaps most importantly, “The Luckiest” completes the album on a fittingly somber-sounding note, providing a hopeful story as the singer confesses his love — albeit in a unique manner — through a description of his perspectives on l0ve, life, fate, and choice. And isn’t this ability to start all over again, heartbreak notwithstanding, the key factor in being able to break free of the loneliness that threatens to haunt all human souls?
It would only take one listen to Way To Normal to reveal that the starting over may also lead to future heartbreak, but that is indeed the story for another review…
When Robert Christgau labeled this album a “dud,” tossing it into the general category of “a bad record whose details rarely merit further thought,” he clearly missed not one but many outstanding attributes of Folds’ debut. He missed a provocative exploration of the modern human psyche, that lonely, longing, and bruised side that many of us attempt to push aside for the ease of survival. He missed a fascinating lineup of characters populating the album from front to back — characters like Annie, Zak, Sara, Fred Jones, Stan, Lisa, Cathy, and Lucretia — who are representative of the negative toll society can take on individuals.
And he certainly missed the finely layered vocals, bass, and drums that are always supporting, yet never surpassing, Ben Folds’ considerable talents on piano.
This is an album that I hope you won’t miss. It shaped the way I see my world, and continues to merit further thought every time I listen to it, all the while being a great deal of fun to listen to.
As I’ve inquired in the past, what more could you ask for in a rock album?
Music ReviewsWhen new music is released by favorite music artists and new songwriters alike, many are curious to know – is it worth my money to buy this new music? In the age of iPods and mp3s, we may carry ten thousand songs with us wherever we go. The question is valid – is it worth my money to add another ten to fifteen tracks to my collection? The music reviews at http://LaptopSessions.com combine the sensibilities of a songwriter with the needs and desires of a listener, as each music review is written by an indie music artist that has devoted much time and energy to both classic as well as new music. The reviewers know how to write a song, but also love to listen to new music when it is of a high quality. New music singles should be upbeat and catchy, and new album tracks should have interesting, intelligent lyrics and generally be satisfying to listen to, whether the song is a downbeat, simple ballad or an electrified, distorted rocker with multiple sections. The music packaging should be worthwhile – pictures, lyrics, liner notes, and more. A music video included would be nice. When it comes to new rock music, the music reviews of the Laptop Sessions will never steer you wrong. The music reviewers tell it like it is, based on the music itself and not on whether or not it is “cool” or “in style.” |