The Top 10 Albums of 2008
According to Joe Sweeney
I know. For the last year, you've been desperately wanting more unsolicited opinions about music from some douche bag in Buffalo. You've been holding in your excitement like a bladder full of urine, hopping from one foot to the other and grabbing your crotch to dull the pain. Well now, dear friends, the time has come for my picks of 2008's best albums, reissues and singles. Go ahead and piss yourself.
1. Randy Newman – Harps And Angels
The recession isn't affecting Randy Newman, and he ain't afraid to admit it. "The rich are getting richer, I should know," the 65-year-old shares on Harps And Angels, his first batch of new songs in nine years. Like its predecessor, 1999's Bad Love, the album finds Newman spending less time in fictional narrator mode, opting to share his undiluted feelings and opinions over trademark Bayou shuffles and lush, Tin Pan Alley instrumentation. Whether he's having a near-death experience ("Harps And Angels"), thanking god for his spotty memory ("Potholes"), tearing the American dream a new asshole ("A Piece Of The Pie"), or losing himself in his lover's arms ("Feels Like Home"), Newman's candor enthralls. And as a result, Harps And Angels captures the state of the nation unlike any album in 2008. It's scathing, hilarious, vulnerable and bold, predicting the demise of the United States in one tune, declaring that the greatest generation "could be you" in another. The old duffer's bank statements might put him in the upper class, but so do these songs.
2. Q-Tip – The Renaissance
In his song “Believe,” Q-Tip makes a statement that encapsulates the concept, tone, and execution of his first album in almost a decade—“Naysayers can hate. We concentrate to bring believe back.” The Renaissance possesses a purpose that’s as arrogant as its title, claiming that rap music needs a positive-minded savior, and for that matter, so does the world. The record would be a classic example of an approaching-40 rapper refusing to shed his ego, if it all weren’t so relevant and refreshing. One listen to the rapper weave his rhymes through the reverb-laden guitar chords of “Johnny is Dead,” and it feels good to have him back. And Q-Tip capitalizes on the good vibes throughout, presenting the most message-driven album of his career. Every track is tied to a theme of love, change or belief, and the production is dominated by simple, airy soul breaks that are firmly in the Tribe tradition. It’s all too appropriate that this record was released on Election Day, because it’s a much-needed breath of fresh air. Listening to it is like getting a transfusion—out with the materialism, misogyny, and braggadocio, in with love. Can hip-hop still be powerful and positive? Yes, it can.
3. Erykah Badu – New Amerykah: Part One (4th World War)
When Erykah Badu ushered in the neo soul revolution with her Baduizm album in 1997, her fusion of '70s R&B, Billie Holiday-esque vocal phrasing and a dash of hip hop was just what the doctor ordered. The R&B artists of the decade hadn't done much to freshen up a genre whose heavy hitters were fading fast, and Badu opened the door for folks like D'Angelo, Jill Scott and India.Arie to do their thing. And on her awkwardly titled fourth album, "New Amerykah: Part One (4th World War)," she blows that doorway into oblivion. An album full of long, serpentine declarations, introspective journeys and the moody grooves favored by producers like Madlib, it has practically no interest in crossover success. The ballads, if you can call them that, are patient meditations – tracks like "Me" and "Telephone" need time to soak in before you can feel their full effect. The upbeat tunes are fantastic soul freakouts, including the Funkadelic throwback "Amerykhan Promise" and the jittery, psychedelic "The Cell." If Baduizm was the Meet The Beatles of neo soul, then this is the Sgt. Pepper's - ambitious, weird and enchantingly original.
4. Portishead – Third
Portishead’s suave, cinematic style could fit snugly on many a spy movie soundtrack – that is, if their songs weren’t the stomping grounds of the morbidly depressed. It’s been 11 years between studio albums for this Bristol, UK, trio, and judging by the moods and ideas that dominate Third, they still don’t find the bright side of life all that interesting. “I can’t deny what I’ve become/I’m just emotionally undone,” laments lead singer Beth Gibbons on “Magic Doors." But while Third pretty much picks up where the band’s first two albums left off, exploring themes of self-doubt and broken relationships over post-punk keyboards and fluttering dance beats, it does contain a few remarkable experiments, most notably “Deep Water,” a one-and-a-half minute song tucked into the middle of the record. Over some lazy ukulele strumming, Gibbons sings, “Gotta remember/Don’t fight it/Even if I don’t like it.” As her bandmates echo each line, their backing vocals are manipulated and muddied in the mix – they sound like they were recorded underwater. The songs that mine the classic Portishead sound also contain some riveting new wrinkles. “Small” features an epic, dissonant organ build and atmospheric guitar squeals that wouldn’t sound out of place on The Piper at the Gates of Dawn. “Machine Gun” is driven by a flurry of drum machine snare hits that do justice to the song title. And throughout it all, Gibbons gives an inspired performance that proves she’s still one of the best “oh, woe is me” vocalists around. Third may be relentlessly sad, but it’s a triumphant return for one of rock’s most enchanting bands.
5. Lil Wayne – Tha Carter III
In no way is Lil Wayne a perfectionist. It's safe to say that his Tha Carter III album was the king of commercial hip hop in 2008, yet it's the polar opposite of a slick, hit-making machine. An extension of Wayne's underground mix tapes, which built up the kind of hype that no marketing campaign could accomplish, Tha Carter III is a sprawling haze of an album, where the MC throws loosely conceptualized verses at a Chinese menu of beats. And while there are some misses – e.g. the abysmal slow jam "Comfortable" and the sheer stupidity of "Lollipop" – the rapper's gut instincts are usually spot on. The exquisite, chipmunk soul of "Mr. Carter" provides a backdrop for some of Weezy's most powerful rhymes - including a stunner about the seasons hating on him - and when they're delivered in his weathered voice, they possess an immediacy that's chilling. "Phone Home" slams into your headphones with bizarre authority. "Tie My Hands" weaves the rapper's mournful ode to New Orleans with an irresistibly silky guitar loop, courtesy of Robin Thicke. But while these tracks make Tha Carter III something much more special than your typical hip hop chart-topper, it's the misses that truly separate Lil Wayne from his colleagues. This album plays like a scientific experiment - a breakthrough here, a wadded-up piece of paper there, the spirit of invention everywhere.
6. Al Green – Lay It Down
I saw Al Green for the first time this summer, and was blown away by so much – his magnificent voice, the stores of energy he still possesses at 62 years of age, the harmonic bliss of his songs, etc. But more impressive than anything was the guy's unshakeable positivity; his refusal to acknowledge defeat to pain and sadness makes him as incredible a minister as he is an R&B singer. And on the stellar Lay It Down, this "love is power" message comes though in clear, shimmering letters. The supreme craftsmen behind the album (including The Roots drummer ?uestlove) have captured Green's classic '70s sound, and it still feels fresh. The horns deliver knock-out punches left and right; the keyboards are soft and warm; the strings swell without overwhelming a thing. At the center of it all is Green's voice, as expressive and elastic as ever, making such seemingly pedestrian lines as "Your love is just for me/For me/It's just for me" feel like the kind of sermon that makes you leap out of your seat and throw your hands towards the heavens.
7. Santogold – Santogold
No album in 2008 was more fun than Santogold, the self-titled debut from the Brooklyn duo that can lean into a hook like Gwen Stefani, go gloriously off the wall like M.I.A., or dish out a blend of streetwise dance-pop that's completely its own. There's no reason why songs like the charming "L.E.S. Artistes," the surf-dance-punk workout "You'll Find A Way" or the dreamy pop sing-a-long "I'm A Lady" couldn't be huge hit singles. Singer/songwriter Santi White's voice isn't remarkable, but it's endearingly approachable, making these tunes more than just catchy, college party fodder – Santogold's themes of personal and artistic empowerment are effective, whether you're a struggling musician or scorned lover. This combination of giddiness (the band members used to be in a ska band) and ambition makes for unforgettable listening on a few levels. White certainly sounds like Stefani at times, but Santogold tends to aim for something loftier than "this shit is bananas."
8. My Morning Jacket – Evil Urges
You could make the argument that Jim James is America's answer to Thom Yorke. The creative force behind My Morning Jacket certainly matches Yorke in the ethereality department, his voice perpetually reaching for the heavens, showcasing a tone that's so pure, it's scary. And where Radiohead fused Pink Floyd's grand paranoia with contemporary electronic music, MMJ added a Southern-fried edge to its brand of epic rock. On Evil Urges, James takes his band in bold new directions, practically spitting in the face of those who weren't happy with the experimental nature of his 2005 album Z. "Highly Suspicious" is the most provocative move, a whacked-out melange of "Wild Thing" guitars and Prince-ish falsetto wailing. The whole thing sounds grating as hell on paper, but it ends up being invigorating. And as if that weren't strange enough, the remainder of the record is marked by a softer touch. James follows "Suspicious" with a pair of utterly earnest songs, "I'm Amazed" and "Thank You Too!," which profess faith and devotion (and use exclamation points) without a drop of irony. In fact, Evil Urges is full of masterpieces spun from potentially cheesy material, like the rollicking "Two Halves," which tackles the Catch 22 of getting old (the young yearn for maturity, the old yearn for innocence) with poignance and verve. The result is an ambitious rock album that lacks pretention, and propels Jim James & Co. into the Kid A phase of their career.
9. Of Montreal – Skeletal Lamping
For more than a decade now, singer/songwriter Kevin Barnes has been a fountainhead of pop hooks, and his band, Of Montreal, has been the interpretive machine that’s kept it all interesting. No matter the context—from the charming acoustic confessionals of 1997’s Cherry Peel to the grief-stricken head trips of last year’s Hissing Fauna, Are You the Destroyer?—Barnes’ melodies have always been the stars. So, if this perennial indie band managed to break out as a mainstream pop force, it would make sense. And given the advance buzz for Skeletal Lamping, the band’s ninth album, this seems to be its best shot yet. Until you listen to it. From track one, the dense, new wave/thrash suite “Nonpareil of Favor,” it’s clear that Barnes doesn’t give a damn about pop success. Skeletal Lamping eschews love songs in favor of erotic rallying cries, delivered by Barnes’ alter ego, Georgie Fruit. Themes of sexual openness as a unifying force abound, promoting a type of esteem-building carnality that would make Alfred Kinsey proud. Much of the album segues together, but not like side two of Abbey Road. These tunes are so crowded and schizophrenic, they’ll only reveal themselves to the patient and demanding listener. Fantastic moments, like the electro-funk intro to “Wicked Wisdom,” shimmer and fade, never to be heard again. Skeletal Lamping is ambitiously catchy and possesses strong lineage—the Ziggy Stardust role-playing, the Beatlesesque melodies, the piano groove from “Sympathy for the Devil,” the inspired dissonance of the Pixies, Prince’s come-hither falsetto—so there’s a good chance it will blow you away. If you have the time, that is.
10. The Roots – Rising Down
After the massive emotion unleashed on 2006's stunning Game Theory, The Roots might have felt backed in a corner for its follow-up. And on Rising Down, they come out snarling, proving that they have plenty of energy, lung capacity and outrage to spare. Opening with a recording of a phone conversation between the group and its label in 1994, in which the artists lose their shit, the album is a fireball of discontent, with the government, the criminal justice system, the music industry and pretty much everything in between. Black Thought spits some of the most gripping, acrobatic verses of his career, especially on the 52-second a cappella track "@15," and gets exceptional back-up from guest MCs like Dice Raw, P.O.R.N. and Mos Def (who contributes the first verse of the record, and it's a scorcher). And the beats continue down the ominous path established on Game Theory – a melange of cold synths, hard bass lines and ?uestlove's commanding drums. On Rising Down, The Roots continue to explore the darkened skies of their souls. Is it selfish to hope that the storm never stops?
Honorable Mentions (in alphabetical order):
Coldplay – Viva La Vida Or Death And All His Friends
One of the most sonically satisfying efforts yet from these lovely wuss rockers boasts a Brian Eno-orchestrated sound that's not at all revolutionary, just a lot more fun (especially "Lost!" and "Strawberry Swing"). Chris Martin can write love songs with the best of 'em, and hopefully he'll do more of those next time, instead of writing things like "Soldiers, you've gotta soldier on."
Fleet Foxes – Fleet Foxes
The definition of autumnal beauty.
Mugison – Mugiboogie
From whispering, romantic folk to churning goth metal, epochal R&B, sexually charged rock ’n’ roll, haunting country balladry, stripped acoustic blues, and maniacal thrash, this record is so magnificently all over the place, you’ll be constantly checking your iPod to make sure it’s not on shuffle.
TV On The Radio – Dear Science
These critics darlings deserve most of the praise that's been heaped on them, thanks to an album that's gloomy enough for the "it's hip to be sad" crowd and adventurous enough for the rest of us.
Vampire Weekend – Vampire Weekend
I hate people who say they love Paul Simon's Graceland like it's something to brag about. Really, you like that? You know what else was pretty good? The Godfather. But with the undisputed triumph of Vampire Weekend this year, Simon's most commercially successful solo period has become ever-so chic. Fusing Afro-pop melodies with geek-rock guitars and crucial production flourishes – the strings on "M79" are just perfect – VW's debut record is a hell of a good time.
The Best Reissues/Compilations
1. Dennis Wilson – Pacific Ocean Blue
To Beach Boy fanatics, this lost solo debut from the band's most underrated member had reached mythical proportions that were practically Smile-like. And Columbia/Legacy's special edition release of Pacific Ocean Blue lives up to each and every expectation. The tenderness and raw talent that the youngest Wilson exhibited on songs like "Forever" and "Be With Me" realize their potential on these songs, which fuse his brother Brian's harmony-drenched ambition with Dark Side Of The Moon-sized atmospherics.
2. Bob Dylan – Tell Tale Signs: The Bootleg Series Vol. 8
The first "Bootleg Series" release that plays like a collection of new songs is also an unrelentingly haunting piece of work. Taking unreleased songs, soundtrack selections and live cuts from 1989-2006, this compilation is the definitive statement of the latter stages of Dylan's career – a period that was as dark as it was fruitful.
3. Nick Lowe – Jesus Of Cool [Deluxe Edition]
For decades now, Nick Lowe has been making clever, finely crafted soft rock records, the most recent being last year's At My Age, which was as humbly brilliant as its predecessors. This year's expanded reissue of Lowe's 1978 solo debut, courtesy of Yep Roc Records, reminds us of how muscular and deliciously sarcastic his pop songs used to be – you can take the title alone as evidence of that.
The Top Five Singles of 2008
1. Vampire Weekend – "M79"
Think about how it feels to run full speed into a huge pile of freshly raked leaves. This is the musical equivalent of that feeling.
2. The Roots – "Rising Down"
It's just one monster verse after another, over the most tempestuous groove of the year.
3. Santogold – "L.E.S. Artistes"
Calling out poseurs for what they are has never been this catchy.
4. Hercules And Love Affair – "Blind"
An enchanting dance song made all the more otherworldly by Antony's guest vocal.
5. Kanye West – "Heartless"
808s & Heartbreak may have been a bit of a letdown, but this track's eighth-note synth flute beat is Kanye at his best.