Last year, I may have complained about getting too many albums from Lifelong Thrift Shop, where I had started volunteering. SARS-CoV2 pretty much ended my volunteer work for this year, but I intend to resume once the pandemic subsides. I still make weekly visits, this time as a customer.
At least it’s afforded me to take a deeper dive into albums I do get.
Catalog
Ned Doheny, Hard Candy: Does anyone else get a super homoerotic vibe from the cover?
Charlie Puth, Voicenotes: I just found him totally adorable in the Subway ads.
Robyn, Body Talk: I’m a latecomer to Robyn, but I see why she is popular with the gays.
Anton Reicha, Reicha Rediscovered, Vol. 1 (Ivan Ilić): Two volumes of an expected five have been released, so where are the other three?
Nakamori Akina, AKINA BOX, 1982-1989: This purchase pretty much seals my place in the Nakamori vs. Matsuda rivalry.
Various Artists, Studio One Rockers: Dawn Penn’s “No No No” is one of those tracks I loved but never knew who sang till recently.
The Damned, Machine Gun Etiquette: I love those thrift shop purchases that turn out to be keepers.
Gary Numan, The Pleasure Principle: I have “Cars” on a 7-inch single, and it only took me another 40 years before listening to the entire album.
SUPERCAR, OOKeah!!: I thought I had caught up on owning SUPERCAR’s studio albums, but this album along with OOYeah!! slipped through the cracks. Of the simultaneously-released pair from 1999, OOKeah!! is noisier with stronger writing.
The Dismemberment Plan, Change: I’m waiting for Emergency & I to show up at the thrift shop.
Reissues
I actually bought more vinyl reissues this year than remasters or deluxe editions.
Wire Train, In a Chamber / Between Two Words / Ten Women: This 2-CD reissue of Wire Train’s Columbia albums might mark the first time Ten Women has been released on CD.
Tears for Fears, The Seeds of Love (Deluxe Edition): Wow, this album is longer than I remember.
U2, All That You Can’t Leave Behind (Deluxe Edition): I didn’t spring for the multi-disc edition with B-sides, but the inclusion of a live show did remind me of the only time I saw the band live, which was during the Elevation Tour.
Roberta Flack, First Take (50th Anniversary Edition): The bonus material on this expanded edition is illuminating, but it’s clear why they weren’t pursued for the album.
Neneh Cherry, Raw Like Sushi: This album so needed a remastering.
SUPERCAR’s vinyl reissue campaign from 2017-2018 gave me an excuse to explore the band’s first three albums. The campaign didn’t include a pair of albums released in 1999, OOKeah!! and OOYeah!! So they’ve escaped my attention till now. I prefer OOKeah!! over OOYeah!!, although the latter include “Be”, a song with a darkly humorous video that can only come from Japan.
So, when can we get these albums reissued on vinyl?
Kylie Minogue, DISCO
Kiss Me Once was one of the last albums I downloaded from eMusic, and I skipped Golden altogether. So I approached DISCO with a fair amount of caution. Oh, she’s back.
PJ Harvey, Dry
Friends tried to get me into PJ Harvey by playing To Give You My Love. I would have gotten on board much sooner if they had played Rid of Me or Dry instead. I am, however, eagerly waiting news for a vinyl reissue of Stories from the City, Stories from the Sea.
Drive-By Truckers, Plan 9 Records, July 13, 2006
I’ve subjected myself to 3-LP live albums before, but this one is a scorcher from start to finish. I still see some copies of this Record Store Day exclusive in the wild, so you should get it if you spot it.
Whitney Houston, Whitney Houston
I disliked Whitney Houston growing up. Her songs were played to death on the radio, and just about every track on this album was released as a single. So how did I end up liking it more than 30 years later? The non-single tracks are actually pretty decent. Paired with the big showstoppers, Houston’s self-titled debut holds together exceptionally well. I didn’t even mind hearing the old singles again.
A decade ago, I wrote a series of entries ranking my favorite albums from 1985 to 2004. My collection has expanded greatly since then, particularly in the last five years. So I wanted to see what has changed in 10 years.
As much as I loved the ’80s, I can’t say the ’90s holds as much sentiment. I feel more affinity for the Aughts than I do the ’90s. That said, 1998 has proven to be rich with favorites, and I would consider it the pinnacle year in the decade. This list has gone through extensive revision from the original.
Neutral Milk Hotel, In the Aeroplane Over the Sea
Madonna, Ray of Light
Lauryn Hill, The Miseducation of Lauryn Hill
Lucinda Williams, Car Wheels on a Gravel Road
Fastball, All the Pain Money Can Buy
Patty Griffin, Flaming Red
SUPERCAR, Three Out Change
Various Artists, For the Masses: A Tribute to Depeche Mode
Bruce Robison, Wrapped
Cocco, Kumuiuta
Other favorites from the year:
Shakira, ¿Dónde Están Los Ladrones?
Wendy and Lisa, Girl Bros.
Midnight Oil, Redneck Wonderland
8 1/2 Souvenirs, Happy Feet
UA, Ametora
Kronos Quartet, Alfred Schnittke: The Complete String Quartets
the brilliant green, the brilliant green
Bang on a Can All-Stars, Music for Airports
Craig Armstrong, The Space Between Us
Julieta Venegas, Aquí
Aterciopelados, Caribe Atómico
Macha, Macha
Idlewild, Hope Is Important
Pansy Division, Absurd Pop Song Romance
Orgy, Candyass
A number of titles that held positions in the Favorite 10 switched places with ones in the extended list.
I didn’t give Fastball much credit 10 years ago because the album had been all over Austin at the time of its release. I got caught up in that hype, then dismissed it as such later. I was wrong. All the Pain Money Can Buy needs to be in the Favorite 10.
For the Masses actually turned me into a Depeche Mode fan. Some of the covers on the tribute album rival the originals. In the case of “Shake the Disease” and “Everything Counts”, they straight up improve them.
Madonna dominated the top position of this list for 10 years before Neutral Milk Hotel nudged her down a notch. SUPERCAR makes another revisionist ranking, pushing 8 1/2 Souvenirs off.
Idlewild makes an appearance with a debut album that’s at times bratty and tuneful. It’s a mess compared to its follow-up, 1000 Broken Windows. But it’s a riveting mess.
A decade ago, I wrote a series of entries ranking my favorite albums from 1985 to 2004. My collection has expanded greatly since then, particularly in the last five years. So I wanted to see what has changed in 10 years.
Here’s my matrix of the most important years in music for the last 4 decades:
2010s: 2015 (so far)
2000s: 2002
1990s: 1998
1980: 1987
The years adjacent to the ones listed are also pretty pivotal, which is the case for 1999. The list doesn’t change much, but a lot of great music came out that year.
NUMBER GIRL, SCHOOL GIRL DISTORTIONAL ADDICT
Shiina Ringo, Muzai Moratorium
Utada Hikaru, First Love
ACO, absolute ego
Nina Hynes, Creation
SUPERCAR, Jump Up
The Flaming Lips, The Soft Bulletin
Port of Notes, Complain Too Much
Mandy Barnett, I’ve Got a Right to Cry
The Kiss Offs, Goodbye Private Life
Other favorites from the year:
L’Arc~en~Ciel, ray
Jordan Knight, Jordan Knight
eX-Girl, Kero! Kero! Kero!
NUMBER GIRL, DESTRUCTION BABY
OBLIVION DUST, Reborn
UA, turbo
Moby, Play
Maná, MTV Unplugged
Dr.StrangeLove, Twin Suns
The Roots, Things Fall Apart
Fantastic Plastic Machine, Luxury
Asylum Street Spankers, Hot Lunch
Café Tacuba, Revés/Yo Soy
A retrospective addition of SUPERCAR bumps L’arc~en~Ciel to the extended list. Futurama was the first SUPERCAR album I owned, and I liked it so much, I was hesitant to explore the band’s early work, out of fear it wouldn’t live up.
As it turns out, Futurama was the last of SUPERCAR’s great albums. The first two albums are classics in their own right. I’ve yet to dig into Ookeah! and Ooyeah!
I’ve only added Moby, The Roots and Fantastic Plastic Machine to the extended list, but albums by Wilco, Rage Against the Machine, Built to Spill and Mos Def could have made it on there. I just wanted to avoid the kind of crowding we saw in 2002 and 2003.
A decade ago, I wrote a series of entries ranking my favorite albums from 1985 to 2004. My collection has expanded greatly since then, particularly in the last five years. So I wanted to see what has changed in 10 years.
I’m flabbergasted by the idea that, as of this writing, the year 2000 is nearly 20 years ago. As much as I lionize the music I heard in high school, the music of my late 20s has been incredibly influential, perhaps professionally as well as personally. Thus, we don’t see much change from the original list.
Shiina Ringo, Shouso Strip
Cocco, Rapunzel
NUMBER GIRL, SAPPUKEI
SUPERCAR, Futurama
eX-Girl, Big When Far, Small When Close
Sleater-Kinney, All Hands on the Bad One
Idlewild, 100 Broken Windows
FEED, Make Every Stardust Shimmer!
Tomosaka Rie, “Shoujo Robot”
Sade, Lovers Rock
Other favorites from the year:
Do As Infinity, Break of Dawn
Yaida Hitomi, daiya-monde
PJ Harvey, Stories from the City, Stories from the Sea
OBLIVION DUST, Butterfly Head
At the Drive-In, Relationship of Command
L’Arc~en~Ciel, REAL
Bonnie Pink, Let Go
MISSILE GIRL SCOOT, Fiesta!
Smashing Pumpkins, MACHINA/The Machine of God
m-flo, Planet Shining
Juanes, Fíate Bien
Emmylou Harris, Red Dirt Girl
U2, All That You Can’t Leave Behind
La Ley, Uno
Sinéad O’Connor, Faith and Courage
Soundtrack, High Fidelity
BBMak, Sooner or Later
At the time of its release, I was just glad All That You Can’t Leave Behind was not a continuation of Pop. The recent vinyl reissue of the album, unfortunately, reveals its shortcomings. Thus, it loses its original ranking in the Favorite 10.
Plot twist: I panned 2004’s How to Build an Atomic Bomb, but that album has endured far better than All That You Can’t Leave Behind. ¯\_(ツ)_/¯
Idlewild’s 1000 Broken Windows takes the spot vacated by U2.
Do As Infinity probably could have held onto its place in the Favorite 10 on the strength of “Raven” alone. At the time, most J-Pop I had encountered relied heavily on keyboards and drum machines, so a karaoke-ready band with crunchy guitars felt novel to me.
I can’t say I love Break of Dawn as much now. It’s rare that singles displace albums for the Favorite 10, but all three tracks on “Shoujo Robot” hint at an awesome album I wish Shiina Ringo and Tomosaka Rie recorded.
The extended list is really just all the titles that could have legitimately competed for that bottom spot on the Favorite 10.
A decade ago, I wrote a series of entries ranking my favorite albums from 1985 to 2004. My collection has expanded greatly since then, particularly in the last five years. So I wanted to see what has changed in 10 years.
The first half of the 2004 list has remained unchanged. The last half has undergone extensive revision.
Arcade Fire, Funeral
Eluvium, An Accidental Memory in Case of Death
Kicell, Mado Ni Chikyuu
Dylan Rice, Wandering Eyes
The Killers, Hot Fuss
Madvillain, Madvillainy
Loretta Lynn, Van Lear Rose
The Streets, A Grand Don’t Come for Free
Mindy Smith, One Moment More
STRAIGHTENER, LOST WORLD’S ANTHOLOGY
Other favorites from the year:
Pinback, Summer in Abaddon
SUPERCAR, ANSWER
Kanye West, The College Dropout
ASIAN KUNG-FU GENERATION, Solfa
Bonnie Pink, Even So
Fuji Fabric, Fuji Fabric
Sacha Sacket, Shadowed
m-flo, Astromantic
The Butchies, Make Yr Life
Scissor Sisters, Scissor Sisters
ZAZEN BOYS, ZAZEN BOYS II
A lot of these revisions are retrospective. I listened to SUPERCAR’s ANSWER when it was reissued on vinyl, and I didn’t find the album as engaging as I originally thought. I’ve come to like Hot Fuss more as time has passed, and I don’t feel as much attachment to Van Lear Rose.
My growing appreciation for hip-hop means Madvillain and The Streets knock Quruli’s Antenna off the list entirely.
I’m still a bit skeptical about keeping Mindy Smith in the Favorite 10, or bumping STRAIGHTENER into the upper echelon. I picked up Pinback’s Summer in Abaddon from Goodwill out of curiosity, and I have a sense that in short time, it will nudge Smith or STRAIGHTENER down to the extended list.
As we go further back to the start of the Aughts, the extended list grows longer. A lot of great music came out at the start of the century. If the Internet hadn’t splintered the mass market, it might have been a galvanizing golden age of popular music.