Post by torethatbridgeout on Jan 1, 2004 17:55:47 GMT -5
PW makes a couple of the RS critics' lists:
BILL HOLDSHIP
1. The Raveonettes, Chain Gang of Love (Columbia): Three-minute blasts of sugary trash rock glory, post-shock treatment, all in B-flat major. If rock is dead, rigor mortis sounds awfully good here.
2. Kings of Leon, Youth and Young Manhood (RCA): Quirky and catchy, bad haircuts and all. So quirky and brilliant, in fact, that the throwaway hidden track is actually this year's finest ballad.
3. Paul Westerberg, Come Feel Me Tremble (Vagrant): Less another midlife crisis downer than, quite simply, his best batch of new rock tunes since the Replacements'Pleased to Meet Me.
4. Rodney Crowell, Fate's Right Hand (DMZ/Epic): Defiantly and proudly a "midlife crisis" album -- but uplifting, hopeful, and beautiful enough to be perhaps his greatest work ever.
5. Lucinda Williams, World Without Tears (Lost Highway): Joins Crowell in offering the first examples of country-fied rap. Not as good as she thinks she is -- but still damn good.
6. Neil Young and Crazy Horse, Greendale (Reprise): What a crazy, lovable, funny, rockin' old hippie coot. His best since Ragged Glory.
7. Carlos Guitarlos, Straight From the Heart (Nomad): Survivor sleeper of the year from the guitarist of L.A.'s beloved Rhythm Pigs. The Chuck Berry-in-N'Awlins "Damn Atchafaylaya" opener is about as happy as they come.
8. Johnny Cash, Unearthed (American/Lost Highway): God bless him.
9. The Strokes, Room on Fire (RCA): Friends who adored the debut don't seem to like this much -- but if you weren't totally awed by the first, this one may do the trick. Definitely a distinct sound.
10. Fountains of Wayne, Welcome Interstate Managers (S-Curve/Virgin): Not as good as the first two albums (or That Thing You Do, for that matter), but still the power-pop champs of 2003.
Reissue: Television, Marquee Moon (Rhino): Forget those trendy Grateful Dead comparisons. This was punk rock, pure and simple, when it still had something to do with art.
JOHN D. LUERRESEN
1. Fountains of Wayne, Welcome Interstate Managers (S-Curve/Virgin): "Stacy's Mom" had it going on, but "Valley Winter Song" and "Hackensack" were sheer genius.
2. The Strokes, Room on Fire (RCA): Instead of rehashing "Last Nite," these cats actually build on Is This It. Sophomore slump? Don't think so.
3. The Wrens, The Meadowlands (Absolutely Kosher): Seven years after Secaucus, these older, sadder lads still have it. The indie album of 2003.
4. The Thrills, So Much for the City (Virgin): Gorgeous arrangements that veer between chamber pop and alt-country with ease and innovation.
5. The Shods, Tippy (Poorhouse): Paying tribute to Strummer, vintage Who and intoxication, Boston's Shods deliver a timeless record for rock and punk junkies alike.
6. The Shins, Chutes Too Narrow (Sub Pop): New Mexico's indie rock favorites rise up to the difficult second album challenge, and create an album with tremendous depth.
7. The Space Twins, The End of Imagining (Raga Drop): Weezer's Brian Bell teams up with his Tennessee high school buddies and creates an irresistible album of Anglo pop.
8. Death Cab for Cutie, Transatlanticism (Barsuk): Ingeniously written and sequenced, Death Cab's latest is its finest, gracefully moving from charged indie rock to poignant pensiveness.
9. Paul Westerberg, Come Feel Me Tremble (Vagrant): Not his absolute best, but damn solid.
10. Matt Sharp, Puckett's Versus the Country Boy (In Music We Trust): Haunting, revelatory stuff that's light years away from the Rentals' disposability.
Reissue: The Clash, The Essential Clash (Epic Legacy): A travel-friendly reflection on the only band that matters.
BILL HOLDSHIP
1. The Raveonettes, Chain Gang of Love (Columbia): Three-minute blasts of sugary trash rock glory, post-shock treatment, all in B-flat major. If rock is dead, rigor mortis sounds awfully good here.
2. Kings of Leon, Youth and Young Manhood (RCA): Quirky and catchy, bad haircuts and all. So quirky and brilliant, in fact, that the throwaway hidden track is actually this year's finest ballad.
3. Paul Westerberg, Come Feel Me Tremble (Vagrant): Less another midlife crisis downer than, quite simply, his best batch of new rock tunes since the Replacements'Pleased to Meet Me.
4. Rodney Crowell, Fate's Right Hand (DMZ/Epic): Defiantly and proudly a "midlife crisis" album -- but uplifting, hopeful, and beautiful enough to be perhaps his greatest work ever.
5. Lucinda Williams, World Without Tears (Lost Highway): Joins Crowell in offering the first examples of country-fied rap. Not as good as she thinks she is -- but still damn good.
6. Neil Young and Crazy Horse, Greendale (Reprise): What a crazy, lovable, funny, rockin' old hippie coot. His best since Ragged Glory.
7. Carlos Guitarlos, Straight From the Heart (Nomad): Survivor sleeper of the year from the guitarist of L.A.'s beloved Rhythm Pigs. The Chuck Berry-in-N'Awlins "Damn Atchafaylaya" opener is about as happy as they come.
8. Johnny Cash, Unearthed (American/Lost Highway): God bless him.
9. The Strokes, Room on Fire (RCA): Friends who adored the debut don't seem to like this much -- but if you weren't totally awed by the first, this one may do the trick. Definitely a distinct sound.
10. Fountains of Wayne, Welcome Interstate Managers (S-Curve/Virgin): Not as good as the first two albums (or That Thing You Do, for that matter), but still the power-pop champs of 2003.
Reissue: Television, Marquee Moon (Rhino): Forget those trendy Grateful Dead comparisons. This was punk rock, pure and simple, when it still had something to do with art.
JOHN D. LUERRESEN
1. Fountains of Wayne, Welcome Interstate Managers (S-Curve/Virgin): "Stacy's Mom" had it going on, but "Valley Winter Song" and "Hackensack" were sheer genius.
2. The Strokes, Room on Fire (RCA): Instead of rehashing "Last Nite," these cats actually build on Is This It. Sophomore slump? Don't think so.
3. The Wrens, The Meadowlands (Absolutely Kosher): Seven years after Secaucus, these older, sadder lads still have it. The indie album of 2003.
4. The Thrills, So Much for the City (Virgin): Gorgeous arrangements that veer between chamber pop and alt-country with ease and innovation.
5. The Shods, Tippy (Poorhouse): Paying tribute to Strummer, vintage Who and intoxication, Boston's Shods deliver a timeless record for rock and punk junkies alike.
6. The Shins, Chutes Too Narrow (Sub Pop): New Mexico's indie rock favorites rise up to the difficult second album challenge, and create an album with tremendous depth.
7. The Space Twins, The End of Imagining (Raga Drop): Weezer's Brian Bell teams up with his Tennessee high school buddies and creates an irresistible album of Anglo pop.
8. Death Cab for Cutie, Transatlanticism (Barsuk): Ingeniously written and sequenced, Death Cab's latest is its finest, gracefully moving from charged indie rock to poignant pensiveness.
9. Paul Westerberg, Come Feel Me Tremble (Vagrant): Not his absolute best, but damn solid.
10. Matt Sharp, Puckett's Versus the Country Boy (In Music We Trust): Haunting, revelatory stuff that's light years away from the Rentals' disposability.
Reissue: The Clash, The Essential Clash (Epic Legacy): A travel-friendly reflection on the only band that matters.
