Best of 2001
by David Zahl
1.
The Strokes, The Modern Age EP (Beggar's Banquet)
Unrelenting, direct, raw, tuneful: the three songs that make up The
Modern Age EP are by far the freshest and most exciting sounds of the
year. The Strokes rediscovered the brutal, distinctly youthful energy that
has always bound rock n roll to its audience. Whether they intended to do so
or not is irrelevant; their music stands apart from the silly hype and even
sillier backlash. It's as close to bad-ass rock n' roll that this generation
will come.
2.
Nathan Larson, Jealous God (Artemis)
Jealous God is unlike any other record this year, an articulate
collection of blue-eyed soul songs specifically about God -- with a capital
G -- devoid of condescension or proselytization. Larson blends effortless
musicality with spiritual yearning, something rare, allowing the songs to
speak and move with unparalleled clarity. The ex-Shudder To Think guitarist
released this immediate and undeniable classic in August.
3.
Bob Dylan, Love and Theft (Columbia)
Love and Theft stands outside of time and space. Dylan's music hasn't
been this animated for at least twenty years, and his lyrics have never
sounded so wise or natural. From behind a veil of hurt and wonder, his
reliance on American musical traditions frees him to speak volumes on the
human predicament and, more importantly, its consequences.
4.
Death Cab For Cutie, The Photo Album (Barsuk)
Though Ben Gibbard sings with an emotional waver, indicative of many
indie-rockers, he balances the vulnerability in his voice with equal
measures of compassion. This quality enables The Photo Album to
transcend the self-obsessive trappings that dampen so much "indie-rock"
while maintaining the intensity which invigorates it. It's a remarkable
achievement: fragmented but cohesive, melancholy but hopeful, personal but
open-minded.
5.
Weezer, Weezer (Geffen)
In perhaps the most self-consciously difficult move of the year, Rivers
Cuomo returned to scene, minus all the smart aleck charisma that made Weezer
so famous in the early 90s. And somehow, he didn't alienate anyone; he even
gained hordes of new fans. Perhaps this is because the Green Album,
despite its lyrical ridiculousness, is the most fun and hard-rocking
30-minute song in years.
6.
Pernice Brothers, World Won't End (Ashmont)
World Won't End inundates the listener with substance. And the sunny
arrangements never obscure the dark subject matter; they enhance it,
"Flaming Wreck" and "7:30" being particular highlights. Emptiness and regret
never sounded so pretty.
7.
Jay Farrar, Sebastopol (Artemis)
One of the year's highlights was the unexpected rejuvenation of Jay Farrar.
The fourteen songs which comprise Sebastopol not only mark his finest
songwriting since Son Volt's debut, they are the best recordings he's ever
done, rustic and authentic, yet daring and entirely modern.
8.
Whiskeytown, Pneumonia (Lost Highway)
Gold may have gotten all the press, but Pneumonia was Ryan
Adams' most formidable release in 2001. Songs like "Mirror, Mirror",
"Jacksonville Skyline", and "The Ballad of Carol Lynn" succeed where
Gold failed: ambitious, thoughtful, honest, and beautifully rendered.
9.
The White Stripes, White Blood Cells (Sympathy for the Record Industry)
If Harry Potter and the White Stripes tell us anything, it's that many
Americans are nostalgic for the British childhood they never had. Chock full
of memorable songs, White Blood Cells sounds like a lost British
Invasion record, albeit filtered through the Pixies.
10.
Ron Sexsmith, Blue Boy (Cooking Vinyl)
With Blue Boy, the quiet Canadian finally released a record which
does his songs justice. Sexsmith's uniformly impressive compositions sparkle
with invention and intelligence, perhaps a result of working with
alt-country guru Steve Earle.
Honorable Mentions:
- The Elvis Costello Reissues
- The Walkmen
- The Band reissues
- Rufus Wainwright, Poses
- Radiohead, Amnesiac
- Turin Brakes, The Optimist LP
