The 10 Best Albums of 2003
Jeebus, this list took forever to put together, and was a great pain in the ass to do. Between the “ranking albums against each other thing” (which I’ll be abandoning on next year’s list as it’s really stupid. Fuck it, think of each of these albums as the best possible album you could buy in 2003…), the fact that there was a shortage of really GREAT records this year (which led to second-guessing a bunch of my choices over the process…a few were on until the very last minute, and disappeared), and the fact that it took me forever to track down copies of some releases that I felt were important ones (keep in mind, I don’t get promos from EVERYONE, and I am working on a very small budget), this was an exhausting process. But, having said that, I’m satisfied with the list I’ve put together, as well as the short list of Honorable Mentions that follows it. Each of the records in the Top 10 were released in 2003 by the artists, and listened to in 2003 by me. (A few of the “Honorable Mentions” came in just after the New Year, or they might’ve had a good chance of making the Top 10.)
Warning: neither the new White Stripes or Outkast record appear on this list.
“Seven Nation Army” may be a very good song, and may have been EVERYWHERE this year, but hell, you couldn’t avoid that Blind Melon song with the Bee Girl in the video a few years back, either. The rest of “Elephant” didn’t really set me on fire, just like a lot of “White Blood Cells” left me cold.
I have only one thing to say about the Outkast record: you’re all being duped. Go buy some Rick James records for Christ’s sake. So what if he burned some chick with a crack pipe? At least he never tried to steal the already-annoying Violent Femmes’ sound and make it even more annoying by adding drum ‘n’ bass elements to it for a gimmick.
Sorry, had to slip those in before we got to the good stuff, but enough! It is time! “And awaaaaaaaaaaay we go!”
10. Killing Joke-Killing Joke: Angry English guys in their 40’s (a recovering sector of the musical marketplace) make the first of two appearances on this year’s list. “Killing Joke” sounds like the soundtrack for the world’s biggest football riot. This one got a lot of press that made it sound like it was a “Dave Grohl featuring Killing Joke” album (he plays drums on it, for those of you just tuning in), but I’d say that’s at least a little unfair and a tragedy of marketing that may have moved a few more units for the band, but slighted them (and Mr. Grohl, who I’m sure didn’t want to hog the spotlight from KJ) terribly. Some long-time fans of the band might not dig it as much as people who discovered them in the late ’80s and early ’90’s (this album sounds as much like a sequel to “Pandemonium” as anything, to give you a point of reference), but I think this is an excellent record regardless of when you first got into KJ.
9. The Exploited-Fuck The System: This one’s by a bunch of even angrier English guys in their 40’s! In a nutshell: in the 7 years since their last record, British Oi! legends The Exploited learned how to play their instruments a little better than I remember them being able to, and mastered Pro Tools just for good measure so you could hear Wattie scream “FUCK” just a little more clearly. This is the album Metallica meant to release this year, but couldn’t hope to after becoming fat, bloated, pathetic shadows of their former selves. 37 or so solid minutes of “FUCK YOU” for the kids!
8. Electric Six-Fire: The best ’70’s Saturday Night Live musical guest that never was. Picture the New York Dolls and Blondie thrown in a blender, but fronted by Roky Erickson’s illegitimate son. Hilarious lyrically, and with music that forces you to get the fuck down, “Fire” continues the trend of rock’s return to the gloriously stupid in grand fashion. Call it a hunch, but I think Belushi would’ve loved these guys.
7. Massive Attack-The 100th Window: Don’t listen to this one unless you’re driving really fast down an empty road in the middle of the night or having sex with someone. I realize that this seems like a pretty big asterisk to put next to the 7th-best album of the year, but “The 100th Window” is one of the best records ever made for these purposes. It’s dark, it’s sexy, and it grooves like a motherfucker. Thank me after your partner’s 3rd orgasm, but for God’s sake, pull over before you give it to them.
6. Ima Robot-Ima Robot: There always ends up being one record that slips under my radar until the very last minute. This year’s was the debut release from L.A.’s Ima Robot. It’s a smart, wild mix of punk, glam, new wave, and bubblegum pop (yes, I’m a total mark for this sort of thing) that references everyone from the Buzzcocks to Prick to The Kinks, yet never fails to sound fresh, dynamic and totally infectious. I don’t know if it was the band’s intent, but this one really brings out the 13 year old girl in me. No, you sick fucks, she’s not going to sleep with you.
5.Andrew W.K.-The Wolf: Our 2002 champion returns with a totally gorgeous arena rock orgy of a record. Owing more to Chicago and Speedwagon in parts than the Fear and Ramones of “I Get Wet”, Andrew W.K. reinvents the power ballad (and arguably himself) on this record, with a heavy emphasis on the word “power”, and a continued focus on getting us all to have a good time and enjoy the hell out of what we’ve got. I’ll go out on a limb here and say that we may be looking at this generation’s Bruce Springsteen in Andrew W.K.. Long live the party!
4. Strapping Young Lad-Strapping Young Lad: Throughout 2003, I found myself forgetting that the latest self-titled release of metal god Devin Townsend’s Strapping Young Lad project was a new one, because it was an instant classic. As is the case with SYL’s previous releases, “Strapping Young Lad” is unbelievably heavy, yet undeniably catchy, cerebral in even the most gutteral points of the music, and downright anthemic. Gene Hoglan’s drumming is a particular point of interest here, as he really shines on this record and drives the whole thing home. If you haven’t heard them, there’s not a lot I can say to describe Strapping Young Lad that does their sound justice. A friend once described them as “methamphetamines for your ears”, but I think they’re a lot more than that. It’s some of the most empowering music you’re likely to hear in any genre. If you like heavy music, this is THE record to own from 2003, and if you don’t typically like heavy music, SYL might be the exception to the rule for you.
3. Sarah McLachlan-Afterglow: In the decade since Sarah McLachlan released her seminal “Fumbling Toward Ecstacy”, she’s had her biggest success, including the “Surfacing” album, her 3 successful years of running the Lilith Fair, and her hit “Angel” on the “City Of Angels” soundtrack. Alas, to someone who’s been familiar since “Touch” was released in 19-buh-buh-buh-bah, let me tell you that…I found her work since “Fumbling…” to be somewhat uneven, and they didn’t always seem to have the focus of her earlier work. With “Afterglow”, Sarah seems to have recaptured all of that and then some. She sounds wiser, confident, more mature (without sounding “old” at all), and at peace with herself even on the darker material. Most importantly, “Afterglow” sounds like a record that Sarah McLachlan crafted very carefully and really believed in. It’s nothing short of gorgeous, and it’s absolutely great to have her back.
2. The Darkness-Permission To Land: All residual bitterness over not yet being granted an audience with the great and powerful Justin Hawkins aside (sorry, but those of you in the know KNEW I couldn’t let that slide here…), The Darkness owned the second half of 2003. For all of the various criticisms levelled at them (”His voice annoys the shit out of me”, “they’re a joke band”, “they didn’t give Scott Crawford an interview despite his being one of their biggest boosters in the States”, etc.), with “Permission To Land”, they put out an album that does what all great rock ‘n’ roll should. It’s loud, it’s obnoxious, it’s a little bit dumb (even despite what, on closer examination, are very well thought out lyrics), it’s a whole lot catchy, it’s pretty when you least expect it to be, chicks dig it, and perhaps most importantly, it makes you wanna shake your ass. GUI-TAAAAAAH!!!!
And the number one record of 2003 is…
1.Warren Zevon-The Wind: This album is quite possibly the best parting shot ever fired by a musician (and I say this with Johnny Cash’s awe-inspiring cover of Nine Inch Nails’ “Hurt” fresh in my mind). It’s poignant, it’s bittersweet, it’s funny at times, and above all, it’s very, very human.
If you’re used to Warren’s barking on classics like “Ain’t That Pretty At All” or his even his Hindu Love Gods stuff with the R.E.M. guys, the difference in the strength of his vocals may come as something of a shock to you at first, but give it some time to sink in and become part of the fabric of the music. It’s beautifully recorded, and it delivers a lifetime of experience and emotion quite effectively.
The subject matter Zevon chose for a great deal of “The Wind” shouldn’t come as much of a surprise; if you knew your life was about to end, what would you write about? He attempts to make peace with his past, gives us all one last look at what’s on his mind, and asks his loved ones to stick around just a little bit longer than usual.
There are a number of celebrity cameos on the record, including those by Tom Petty, Bruce Springsteen, and Emmylou Harris. One would think them to be a bit of a distraction before you hear them, but they blend in rather nicely, sounding more like friends hanging out with Warren in the studio than collaborations per se.
In addition to all the great originals, Zevon’s use of Bob Dylan’s “Knockin’ On Heaven’s Door” here is absolutely brilliant. On one hand, it’s a really obvious ploy to tug at the heartstrings, to the point where if you know Warren’s reputation, you realize that he almost had to be doing it in an “Awww, I’m just fuckin’ with you!” kinda way. Then, when you realize he was still ribbing his audience like that while he was literally on his deathbed, it really does tug at those heartstrings. I hope that if, God forbid, I ever have to stare down death the way Warren Zevon did, I’m able to do it with the same courage and grace that he displayed.
Get some sleep, Warren. You’ve earned it.
Honorable Mentions:
Yeah Yeah Yeahs-Fever To Tell-A solid debut and, for completely different reasons than the Massive Attack, great driving/screwing music. This one just narrowly missed the list.
Blondie-The Curse Of Blondie-A surprisingly solid effort from Deborah Harry and co., moreso than their previous “No Exit” in my book. Sounded less like a comeback record and more like a Blondie record. Also just narrowly missed the list.
Marc Almond-Heart On Snow-One of two that came in just after the New Year after a lot of hunting. Marc Almond’s album of Russian songs is very somber, very moody, and if you can hang within those parameters, utterly brilliant like his music usually is.
Biz Markie-Weekend Warrior-The other record that came into my possession just after ‘04 began. After a decade-long hiatus from recording because he “wasn’t feelin’ it” (a true artist), the Biz returns, and he’s still got it. Some minor distractions here and there from the unavoidable guest appearances that soil every rap record these days, but ultimately, The Diabolical delivers. For cryin’ out loud, he sampled the Little River Band’s “Reminiscing” this time! “AWWWWWW BREAK IT ON DOWN!”