I also hate the lack of vocal talent exhibited by so many of these cutting edge bands, as if musicality (sic) born of growing up in New York City or Manchester without any formal exposure to music education is somehow superior to what is created by musicians who can actually play chords and sing in harmony with each other. I could purchase two or three CDs a week and continue to build a solid collection of rock-oriented music for years to come without ever acquiring anything by two-thirds of the most popular acts in rock. The market is that vast.
I picked up a lot of good stuff in 2003, much of which was ignored or berated by the music press. (Who are these guys anyway? Listeners like you and me, really, who have no deeper credentials than we have for writing music reviews.) Following is an unscientific list of recommended recordings, mostly released in 2003 with a few bleed-overs from ’02. I didn’t review John Mayer’s "Heavier Things" or Dave Matthews’ "Some Devil" because most people know about them. And may reviewers have already praised Warren Zevon’s "The Wind."
DAMIEN RICE – "O"
Housed in a cardboard cover adorned with a child-like drawing of You and Me, this first effort by the Irish-born and -bred Rice is a terrific mellow mood piece for the thinking person. Much of the album is comprised of slow, guitar-led dramatic ballads like "Aimee," "Cannonball," and the opener "Delicate." The album’s standout song, "Volcano," has a lot more drive to it and Rice shares the vocal with Lisa Hannigan. Eskimo, the 10th track (I’d say final, but there are two hidden songs), begins as another ballad, but after turning almost music-hall silly for the chorus, morphs into a huge, orchestra-backed counter-melody sung by an opera singer in Finnish. Yeah, weird. But its grandiose playfulness casts the whole album in a different light. And I haven’t even mentioned the one tune that might appeal to more straight-ahead rockers: the drunken "Cheers Darlin’," another great tune that comes along just when you think you might have this Rice guy figured out.
JASON MRAZ – "WAITING FOR MY ROCKET TO COME"
I was happy to have heard the hit song from this record ("The Remedy") before seeing the stupidly cute video. Yeah, Mraz has Hugh Grant looks and is from California (for those looking to bash his street credibility), and he was kicked around on a recent episode of Joan of Arcadia, but this is a terrific set of pop/rock tunes with something to say from a fabulous singer and writer (although he gives co-writing credit on a number of the songs). After the confessional, nearly acoustic "You And I Both" (which got a lot of college airplay), Mraz sings his way through light ska, rap, jazz, and several forms of singer-songwriter rock and pop and even includes a Space Ghost reference. He does what John Mayer would like to be doing, but Mraz is a better singer and writer than Mayer. How can you resist a song called "Too Much Food?"
LIZ BERLIN – "LIVE"
Berlin is a singer/instrumentalist who’s spent the last decade supporting band leader Michael Glabicki in Rusted Root, but this first foray into leading her own smaller ensemble and singing all her own songs is a true breath of fresh air. I had always wondered why she didn’t step to the front more in the Root, and with this album I can only surmise that she was waiting in the weeds. Liz has a powerful lead voice and has carefully varied the instrumental backup song-to-song (sometimes drums and bass, sometimes cello and violin, sometimes just her own guitar) to produce a terrific, rockin’ eight-song debut. This is one of those Web site and at-the-gig only CDs, but go out of your way for it. From the soaring "Tell You Why" to the nearly indicting "Lie," you can hear sometimes contemplative, sometimes confrontational lyrics with all their emotions intact, not buried in overproduction or fuzzy guitars.
JENN WERTZ – "ACOUSTIC"
Wertz has also spent time in Rusted Root, one of those rare birds who leaves a band, then rejoins years later. Her voice is white-bluesy, not unlike Stevie Nicks’, but with no rasp and a lot more range. While the last of the eight tracks here was recorded live with a rhythm section (and is one of the set’s strongest tunes), all eight are what acoustic rock is meant to be: heartfelt and affirming, yet not without its jabs. My favorites include "Train," "Summertime Deal," "Ain’t No Use," and "Innocence." Wertz and Berlin are touring now as a duo, sometimes opening for Rusted Root.
GUSTER – "KEEP IT TOGETHER"
This is the best record I heard all year. The trio has honed its arranging and producing skills to fill out their once sparse sound magnificently. This is one of those records that could have 5 or 6 hit singles, if fate were kind. From the easy walk of the opening number "Diane" to the swelling sing-along of the hidden track "Two At A Time," Guster grooves through a carnival ride of pop/rock tunes. The hit Amsterdam is totally deserving of its radio exposure while "Careful, Homecoming King," "Ramona," and the title track also echo timeless pop sentiments, but with a wry college band twist that keeps the band cool. More ambitious are two later tracks on the album, "Come Down Stairs and Say Hello," which starts as a slow, reflective ballad, but swells into a driving mantra; and "Red Oyster Cult," complete with falsetto verses, time changes, and the reminder to your mom that "you’re never gonna change the world."
BEN FOLDS – "SPEED GRAPHIC and SUNNY 16"
Even while touring tirelessly, Folds has been hard at work in the studio this year, producing these first two of a planned series of three 5-song EPs available at his Web site and his live shows. He’s also scheduled to release a full CD early in 2004. Ben has used this direct-to-the-listeners opportunity to record a couple of select covers, some older songs he only recently finished, and to try some new things. His language choices have always largely kept him off the radio, but, as with all Folds music, these songs are hook-laden, thought-provoking, and often funny. "Dog" and his version of the Cure’s "In Between Days" highlight "Speed Graphic;" "Sunny 16" features "There’s Always Someone Cooler Than You" and "All You Can Eat," featuring an incomparable hook that you’ll never hear on commercial radio.
SHELBY LYNNE – "IDENTITY CRISIS"I had heard Shelby Lynne’s name before, but never her music. I admit I bought the disc because of the provocative (don’t read sexy) look she’s giving on the CD cover. A best new artist Grammy winner, the venues on her 2003 tour indicate that she hasn’t brought in the dollars expected by her record company, but I really liked this album right away. According to Lynne’s Web site, she consulted Willie Nelson concerning her stripped-back, emphasize-the-writing approach to this record and the old master gave her an encouraging thumbs-up. Lynne certainly has country roots (the Nelson influence is apparent on several tunes), but she can handle quiet, contemplative jazz ("Telephone," "If I Were Smart"), gospel ("10 Rocks"), bluesy rock ("Gotta Be Better"), and a multi-tracked Patsy Cline tribute called "Lonesome." Not quite in Michelle Shocked’s league as a writer, Lynne nonetheless goes into a lot of the same emotional nooks and crannies. Don’t look for pulled punches in the lyrics, though. By the time she finishes "One With The Sun," you’re glad she’s stopped digging, yet just comforted enough to start the record over again.
DAN BERN – "FLEETING DAYS"I discovered Bern with his last album ("New American Language"), so was pleased to find that he waited only two years to release "Fleeting Days." While Dan’s wit and insight are still apparent, this record is a lot less political and issues-oriented and a lot more pop and fun. The middle of the album features "Chain Around My Neck," "Jane," and "Crow" – all clocking in at under three minutes and all jaunty, Gen X angst lyrics. "Baby Bye Bye" and "Eva" (nearest clone to a ‘70s Elvis Costello tune I’ve ever heard) kick off the album in much the same way. There is still Bern’s longer, Dylanesque ranting lyrics, but the closer, "Soul," is a moving and funny folk-type ballad with a backup chorus. Bern’s backing band is the IJBC (International Jewish Banking Conspiracy), just to show you the many layers on which he works and plays.
RUFUS WAINWRIGHT – "WANT ONE"
I was thrilled with Wainwright’s last record, "Poses," and as with Dan Bern, excited that he was ready with more after only two years. Rufus likes to croon and he likes to orchestrate and producer Marius deVries layers sound upon sound upon sound on this one. By and large, Wainwright’s slightly garbled tenor comes through, though, planting his reflective, sardonic, artistic slice-of-life tales firmly in the listener’s brain. Highlights include the opener "Oh What A World" (Men reading fashion magazines/straight men/oh what a world we live in), "14th Street," and "Vibrate," as in the thing your cell phone does when you turn off its ringer.
JILL SOBULE – "THE FOLK YEARS, 2003-2003"
Yeah, you did a double-take on that title, didn’t you? That’s not all you’ll double take on, as Sobule does a few more covers than usual here ("Survivor" – yes the Destiny’s Child tune, "Que Sera Sera," - yes the Doris Day tune, "Sunrise/Sunset" – yes from "Fiddler on the Roof," and "Don’t Let Us Get Sick" by Warren Zevon, one of his many chillers from the latter part of his life). But in between, she tells a bunch more of her self-penned weird stories, as always reflecting a deep appreciation for her growing up years and an odd fascination for war zones. Most stunning, though, is a tune called "Shoreline" on which she gives half the lead vocal to a male voice not credited. Perhaps by the time you go to her Web site to order this CD (it’s another one of those), she’ll have identified the singer.
ROSANNE CASH – "RULES OF TRAVEL"
I missed Rosanne Cash during her seven year recording hiatus (induced by a throat problem that prevented her from singing), but this return features a clutch of songs that remind me of her terrific 90’s work. This album is generally brighter than her last two, but her voice is in full force and John Leventhal’s production is the perfect support. "Beautiful Pain," "44 Stories," and "I’ll Change For You" start the album off with the kind of under-the-skin lyrics that Cash does so well and feature Sheryl Crow ("Pain") and Steve Earle ("Change"). Perhaps the most moving track is "September When It Comes," an eerie foreshadowing of her father and duet partner Johnny Cash’s death. Covers of Jakob Dylan and Marc Cohn tunes boost the second half of the disc, but two of her own songs, "Will You Remember Me" and "Last Stop Before Home," help complete the album’s emotional journey.
JOAN ARMATRADING – "LOVERS SPEAK"
Another of my favorite singers to return this year after a long break, Joan focuses on themes of love and self-confidence on this album. The ultimate confessional writer, Joanie uses her trademark unconventional song structures to evoke soulful, passionate pleas for mature friendship and understanding. Sometimes lost in reviews of her work is that Armatrading often plays her own lead guitar lines and you can’t ask for a more compelling singer. Favorites include "Waiting," "Ocean," "You Made Your Bed," "Tender Trap," and the inescapable "Love Bug."
EDIE BRICKELL – "VOLCANO"
Man, it was a year for the returns of women singer/songwriters. When I heard Edie’s voice on the radio doing something new, I ran out to the local music store looking for the album. Brickell has formed a new backing band for this project and they return her to the sparser, edgier sound that made her first recordings with New Bohemians so great more than a dozen years ago. The album begins in a mellow groove and never quite takes off like the old Bohemians did, but "The Messenger" and "What Would You Do" are among many winners.
JAMES McMURTRY – "SAINT MARY OF THE WOODS"
When I heard McMurtry at a Chicago club in February of ’03 he thanked the crowd, saying "I wasn’t sure I still had a career." Indeed after albums in back-to-back years on the mostly bluegrass label Sugar Hill seemed to have resurrected that career after he was dropped by Columbia, he all but disappeared for four years again. His rough, seamy, surprisingly conservative, yet refreshingly direct story-songs are back on this terrific album. McMurtry has never apologized for his limited vocal range, for his Texas roots, or for his interest in rednecks, and he shouldn’t when he sings about them so eloquently. Highlights here include "Dry River," "Valley Road," "Lobo Town," (hey, can you tell he’s a Texan?) and the disc’s shortest song, "Gone To The Y," about what the kids think and say when trying to stay out of the way of fighting parents. The epic "Choctaw Bingo" closes the album – a story of a family reunion that has to be heard to be believed, especially the part about the narrator’s two second cousins.
DAR WILLIAMS – "THE BEAUTY OF THE RAIN"
The only artist on my list who’s actually labeled Folk in the music bins, Williams is as folkie as most singers who care about having their lyrics understood on their records, but she’s not without her rock influences. John Popper lends harmonica and harmony support to "I Saw A Bird Fly Away," the producers are Stewart Lerman (the Roches) and Rob Hyman (Cindy Lauper, Joan Osborne), and Stefan Lessard and Eric Bazilian also lend a hand. Allison Krauss notwithstanding, the guest stars are not all the album is about. Williams is a strong writer and singer in her own right, as evidenced on "Mercy of the Fallen," "Your Fire Your Soul," and "The World’s Not Falling Apart.
