2004 in Review

Forces conspired against my music consumption in 2004. Work and family took up even more time (not complaining, just saying). Publicists lost my address. Money was tight. I was trying to read more books and play more basketball. Plus, I didn't care a lick for Modest Mouse, Franz Ferdinand, The Killers, Interpol, and most of the other like-minded bands that seemed to fill alternative-rock radio airwaves and hog the hipster cache.

As a result I retreated more into my existing record collection and didn't drink as deeply from the new music well as I have in the past. That means my "best of" list admittedly doesn't draw from that large a field. But, at the same time, the ones that did stand out did so tall and proud. In fact, there haven't been many years when I've been as enthusiastic about my record of the year. So, rest assured as you peruse my list that anything included here has received a whole-hearted stamp of approval and I expect them to be in my regular play list for many years to come.

Certainly longer than any of the flavors of the month will still be getting airplay on the radio.

ALBUM OF THE YEAR

Mendoza Line - Fortune (Bar None)

I don't know what else I can add to my glowing review that I wrote here earlier in the year except to say that I can't think of the last time I listened to one record more when it was first released. The official disc is all but super-glued in my stereo disc changer. A burned copy is always in the car. And MP3s are on my home and work computers. In other words, I never travel far without a little Mendoza Line.

What amazes me is that I'm not seeing this record on lists alongside other critically-praised albums. I don't say that with some "why doesn't the world recognize the genius of my opinion?" scorn. I merely think that this record is filled with great songs played well and filled with honest (if not always happy) emotions. I think this record is fascinating. If I ran a record label, I would want to put this disc out, sell a lot of copies, and make a lot of money. If I ran a radio station I would want to play every track and delight tens of thousands of listeners. But I don't do either of those things. Instead I write for a music webzine (albeit a damn smart one) and talk about music to my friends (albeit not always as smart). So I use this position to urge people to search this record out and hopefully you'll enjoy it as well.

FILLING OUT THE TOP FIVE

Neko Case - The Tigers Have Spoken (Anti)

Oh what an amazingly beautiful voice. And, with the Sadies (as well as friends like Kelly Hogan and others), Ms. Case has a cracker-jack band backing her on this collection of live tracks. She gracefully merges slower, moodier fare like "Blacklisted" and "Hex" with rollicking tracks like "Rated X," "Loretta," and "Train From Kansas City" and proves equally adept at each. And on the title track she will break your heart with the line, "they shot the tiger on his chain." This is country music for people who don't (or do) like country music and Neko Case is a genuine, timeless talent.

Green Day - American Idiot (Reprise)

Even if I hadn't enjoyed this record as much as I did, I still would have considered it a success just because of the effort the band put into it. In an industry where lowering expectations is the standard M.O., Green Day - generally written off as snotty punks adored by 13-year-olds - instead reached higher. Certainly you can hear where they crib Cash's "Ring of Fire," The Ramones, and a host of others (even The Flaming Lips), but they pulled it off. Merging an assortment of songs into a mini rock opera isn't a new idea but, again, they pulled it off.

A lot of people are going to include this record on their "best of" lists, but add some sort of disclaimer about "guilty pleasures" or whatever. I simply feel that Green Day created a great American rock record and I'm incredibly curious to see how they are going to follow it up.

The Arcade Fire - Funeral (Merge)

Okay. The record is on my list. Can I get my indie-cred merit badge now?

I kid. I didn't even read the famous Pitchfork review until after I had the record, bought thanks to a one-paragraph review I saw somewhere else that mentioned The Kinks and the kind words of a record store clerk. Now I only regret not getting out of the house to catch their show when they came through town; though I wonder how they'd manage to capture their lush but powerful sound on stage.

In the songs I hear bits of The Pixies, The Jesus & Mary Chain, The Walkmen, Talking Heads, and more. In fact, I pick up something else each time I spin the album. But most of all I revel in the mood that they are able to establish and then carry through the entire record (including the unique package design and funeral program liner notes). I love the fact that they weren't afraid to be grandiose with their arrangements and the addition of an accordion, horns, and strings (love the harp!) while at the same time writing infectiously catchy and strong songs with little more than two chords. This record isn't just hip or cool or elitist. It's a true accomplishment.

U2 - How To Dismantle An Atomic Bomb (Interscope)

I always enjoyed U2's early singles well enough, but whether it is having heard them on the radio hundreds of times, or something about the production, I often find them sounding as dated as Bono's mullet looked. I never really embraced "The Unforgettable Fire" or "Joshua Tree" like the rest of the world did. And I had no use for their giant lemons and Zoo TV. But I have greatly enjoyed their last two records. Maybe I'm just being contrary or an idiot, but there. I've said it.

This record is filled with riffs and hooks made to be played over-the-top while the lyrics are able to make grand statements about life, death, love, and faith while not slipping into hyperbole.

SIX MORE DESERVING OF HIGH PRAISE (in no particular order)

A.C. Newman - The Slow Wonder (Matador)

I held off on purchasing this record for a while, fearing Mr. Newman's solo offering without The New Pornographers would suffer a case of Bob-Pollard-itis. Upon hearing it, I was please to find my fears unfounded. There are times when I would have loved to have heard Neko Case's voice chiming in the background, but these songs are just as solid and catchy as those he had delivered in the past, convincing me that he is a real talent no matter who he surrounds himself with in the studio.

Loretta Lynn - Van Leer Rose (Interscope)

There may be a few tracks on the disc I find myself skipping over, but I feel true sentiment for this record the way I did for Johnny Cash's American series. I think it was fantastic job by Jack White to use restraint when creating those songs and those sounds. And the duet "Portland, Oregon" was possibly my favorite song of the year.

Li'l Cap'n Travis - In All Their Splendor (Glurp)

After spending most of 2004 listening to this disc I'm still no better off trying to describe their music. Jazzy alt-country? Swamp rock? Crazy-time-signature-country? I don't know. But I do know that the record is an enjoyable listen by a group of musicians who are trying to stretch the boundaries of their genre. Whatever the hell it is.

Ben Kweller - On My Way (ATO)

There was a bit of a drop off from his full-length debut, but not enough that I would call this record a victim of the sophomore slump. This record was recorded live, with the entire band in one room, and I appreciate the youngster's willingness to try something new and shake up the process. I'll continue to look forward to whatever he has to offer.

Waxwings - Let's Make Our Descent (Rainbow Quartz)

Conversely, I considered this record a return to form for the Detroit pop rockers after a second record that I felt was a bit wanting. They toughened up and weren't afraid to get down in the groove, fuzz up the guitars, and let the songs build up and spill over. There's something about this band - their desire to expand their musical palate, their ability to craft a song, their willingness to overcome adversity, or maybe a combination of all that and other intangibles - that always makes me think they are poised to break through to larger successes. But before they become big rock stars, would it be too much to ask for them to add the occasional concert stop in Columbus?

The Bigger Lovers - This Affair Never Happened…. (Yep Roc)

Just simply some stellar pop rock songs. One shouldn't try to overthink the appeal of songs like "You (You You)," "You Don't' Feel Anything At All" "For Christ's Sake" and "I Resign." Rather, just sit back and enjoy them.

REISSUES WORTH GETTING EVEN IF YOU GOT THEM THE FIRST TIME

The Kinks - Village Green Preservation Society (Sanctuary)

I think I've said this at the end of the last two years, but maybe 2005 will finally be the year that The Kinks get their due. Much of the band's catalog has been remastered with some bonus tracks and certainly another nice step was made in that direction this year with the imported three-disc set of Village Green Preservation Society. Still, would it kill someone to dig further in the vaults for songs, shows, pictures, or anything else?

VGPS is perhaps the most revered of all Kinks' albums today, but it seemed to be the redheaded stepchild at its inception. The record was broken up and released in different versions in different countries at the whims of Ray Davies and record company deadlines, then mostly ignored by the public when it finally came out in England. But with this collection all the bits and pieces have been pulled together (as well as a third disc of rarities, BBC recordings, and other singles from this era). It's a fantastic tour guide through Davies' friends and family as well as the England he loved, whether it actually existed or was just in his mind. The title track along with "Johnny Thunder," "Days," "Picture Book," "Last of the Steam Powered Trains," "Big Sky," and others are guaranteed classics

The Clash - London Calling (Columbia Legacy)

What's there to say about this record that hasn't been said before? The songs have come to define a band, an era, and a genre. The Columbia Legacy treatment - complete with a disc of demo songs and a DVD documentary - only helps put the record in the proper context and further explain its importance. In other words, it does exactly what a re-issue is supposed to do.

The Faces - Five Guys Walk Into a Bar (Rhino)

As my step-father-in-law opened his Rod Stewart "standards" CD this Christmas, I just smiled and played the Faces' box set back in my head. Rather than just assembling a bunch of old tracks and tagging on a handful of rarities, this was lovingly cobbled together in a delightfully haphazard manner. The Faces weren't ever about doing things the "right" way and it was that accessibility that helped define their legend. They played pub rock set down on the corner, not arena rock for downtown. If only more bands would follow their lead. Also, this collection boasts the most appropriate title ever for a box set.

CONCERT EVENTS

About 45 minutes before the curtain was to go up, a pair of nosebleed tickets for the Prince show in Columbus fell into my lap. The wife and I rushed over, climbed to the top of the arena, and missed the first handful of songs. The rest of the night I recognized maybe 25 percent of the songs played. Still, it was an incredible show that managed to be drumhead tight yet feel loose and spontaneous. I enjoy the drunken train wreck of a bar show as much as the next person, but there was something refreshing about the high-quality professionalism of the performance and the groove-filled songs. The copy of *Musicology* that everyone received as they entered the arena was also a shrewd marketing move and a great listen.

On the other end of the "tightness" spectrum, but equally enjoyable, was getting to drunkenly play Blondie covers with my wife and some of my best friends at a Halloween costume show. Apparently we nailed "Rapture." It was all a blur to me.

BEST ALBUM THAT ONLY EXISTED IN MY IMAGINATION

To varying degrees I enjoyed each of these records individually. But when I combine pieces of Paul Westerberg's *Folker* with Tommy Stinson's Village Gorilla Head, as well as the release of his old band, Perfect's, Once, Twice, Three Times A Maybe then I have the sound of The Replacements' reunion record I so strongly desire.

BEST RECORD IN A LOSING CAUSE

The Future Dictionary of America, put together by the rabble-rousers at McSweeney's publishing and Jon Flansbaugh of They Might Be Giants, collected artists for a book and CD, the proceeds of which were to help MoveOn.org and like-minded groups. David Byrne delivers an excellent song called "Ain't Got So Far To Go." Other stand-out tracks include those from Mike Doughty, Ben Kweller, Death Cab for Cutie, They Might Be Giants, Sleeter-Kinney, OK Go, and Tom Waits. They even manage to capture the first and only Jimmy Eat World song I've ever been able to listen to in its entirety. Of course, it was a Guided By Voices cover…

BEST COMMERCIAL OF THE YEAR

The HP digital photography commercial featuring The Kinks' "Picture Book" as well as the cooler-than-cool-how-the-hell-did-they-do-that? special effects. Perfect song for the product and I could watch it all day.

"RETURN" OF THE YEAR

The release of Brian Wilson's Smile was sort of like what George W. Bush did in November. Whether it was the record or the election, no one was really sure if it was "official" the first time we experienced it, and there was much speculation about what the second version would hold.

Really, the only major difference between the two is that Smile is a minor masterpiece and the culmination of a man's life's work that has brought hours of delight into my life; while Bush being in the White House makes me fear for the lives and well-being of myself, my family, and everyone I love every minute of every single day. So, I'd guess maybe the two don't have quite as much in common as I thought.

BIGGEST SURPRISE / DISAPPOINTMENT

Wilco, Guided By Voices, and REM - all bands that at one time or another I thought could do no wrong - all put out albums in 2004 and I didn't even feel motivated to listen to a single one of them.

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