The Albums

After a self-imposed seven-year hiatus, Andy Partridge and Colin Moulding come back with arguably their best record yet, a gorgeous slice of Beatlesque pop.  Main songwriter Partridge, recently divorced, has enough acid in his blood to pass for one of H. R. Giger’s Aliens.  Listen to “Your Dictionary” for proof.

Nothing particularly special or different about him.  He just happened to assemble one of the most solid pop records this year.  “Sentimental Favorite” could have been a Sarah McLachlan track, and should have been as big a hit as her recent work.

Call it vaudevillian pop, with some of Ben Folds’ piano savvy but also a more classical sense of songwriting.  Singer/songwriter/pianist Seth Timbs is a major talent on the move.

Producer Steve Lillywhite joked that this band could make music with a couple rubber bands and a stick.  He wasn’t kidding, and their drummer doesn’t even use sticks. But they have scores of talent, with two fantastic vocalists and a seemingly endless knack for writing great pop songs.  Any fan of Crowded House should check this one out.

 Awkward title, dark musical period (Ben’s fugue state, if you will), wonderful music.  This one sounded good from the beginning, and got better.  “Don’t Change Your Plans” is timeless, with a trumpet solo that sounds like it came from an old Chicago song.  And I mean that in a really good way.

Mr. Melville assembles his most well rounded and most accessible record yet.  “Natural Blues” is the “Praise You” of 1999, and unlike Fatboy Slim, he has much more up his sleeve than a big beat.

Practically a Jellyfish tribute band, except they write their own tunes, Sweden’s Merrymakers write very smart pop in the vein of Lennon & McCartney and Difford & Tilbrook.  “April’s Fool” must have made co-producer and former Jellyfish singer Andy Sturmer very proud.

Another record that improved with repeated listening.  It’s not that his lyrics are dazzling or his songs are wholly original.  They aren’t. But in an age of low fi recording techniques and distorted vocals and guitars, his arena rock songs are, ironically, a breath of fresh air.  “She’s So High” would have been #1 on my singles list if I hadn’t included the album here.

Euro disco fops Neil Tennant and Chris Lowe, surprise, turn in another solid album.  “In Denial” is a lock for a Tony award of Tennant ever gets that musical production he’s planning off the ground (for which “Denial” was written), and “You Only Tell Me You Love Me When You’re Drunk” is vintage PSB.  Heartfelt and lush, with a sardonic aftertaste.

      Forget the “interpretations” at the end of the record. Those are junk. (and like my colleague Will said, belong on a list for worst of the year)  But the songs Trey Parker and Marc Shaiman put together for South Park’s movie are inspired.  Riffing on everything from Oklahoma (“Uncle Fucka”) to Les Miserables (“La Resistance”) and Disney movies galore (I hope Alan Menken was flattered by “Up There,” clearly inspired by “Part of Your World” from The Little Mermaid).  Trey Parker is a sick bastard, but he’s also a genius.

Smash Mouth-Astrolunge (Interscope)

Beach Blanket surf pop? Make mine a double scoop, please.  “All Star” was the big hit, but Interscope could mine this album for at least three or four more singles.  May I suggest “Diggin’ Your Scene”?

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The Singles

Great Songs from Bands Not on the Albums List

“Coffee & TV,” Blur (Virgin)

The album wasn’t good enough to make the list, but I loved this song.  Main songwriter Damon Albarn’s tank seems to be running kinda low.  Perhaps he should let guitarist Graham Coxon turn in a few more songs like this one until he finds the plot again.

I wanted to put her EP of songs from her upcoming album on my top ten, but I would be cheating if I put the EP on my list this year and her album (set for release in January) on my list next year.  Instead, I’ll hype my favorite song from the EP, which is one she’s been kicking around for a few years (I first heard her sing it back in 1996).  I just love the chorus: “Just one question before I crack/When you fuck it up, baby, do I get my money back?”

A French band that got a major boost by remixing some Chemical Brothers tracks, this is the only song they’ve released yet (a full-length album is scheduled for next year), but it’s a whopper.  Goffin/King lyrics over what sounds like a disco track in deep space, it’s the most oddly compelling track I’ve heard in a while.

With a little help from, of all people, Fun Lovin’ Criminals, Ian MacCulloch rebounds in grand style after a lackluster comeback album with this nugget.  You’d never know they hadn’t recorded a decent song in twelve years before this.

Here’s one for the Guilty Pleasure list.  A side project of Canada’s Philosopher Kings, this is Euro disco with a Spanish guitar solo. Her: “Sucks to be you.” Him: (deadpan) “I know, I know.”  Absolutely silly, and nearly impossible to get out of your head.

Go Soundtrack Submission #1.  I took great pride in declaring this the “Don’t You Want Me” of the ‘90s before Entertainment Weekly did.  This song is definitive summer music; Fun, catchy, and very light.

Go Soundtrack Submission #2.  A great dance pop song in the vein of Madonna or even Neneh Cherry’s “Buffalo Stance” minus the rap,  DJ Rap scared people off with her moniker before anyone even heard her music.  If Christina Aguilera had sung this, it would have been a Number One hit, hands down.

Former Dayton schoolteacher Robert Pollard makes his most mainstream record yet (his Who’s Next is what he called it), and it started off with this, a killer Cars impression. 

This didn’t hook me as quickly as the Chemical’s previous collaboration with Gallagher, 1996’s “Setting Sun.”  But it did deliver on the psychedelic big beat pop factor, and who really cares if the main lyric “How does it feel like” is grammatically incorrect?

Did someone tell Dale Bozzio that Missing Persons got back together without her?  A great three-minute slice of early ‘80s New Wave here.  Snotty vocal delivery, hand claps and a good beat to do that Molly Ringwald Breakfast Club dance.  And don’t tell me you don’t know what dance I’m talking about.  We all did it.

“Umm,” Scritti Politti (Virgin UK, set for release here in 2000).  An odd mix of unabashed pop and hardcore rap.  Who knew Green was a B-boy?

“Much Against Everyone’s Advice,” Soulwax (Almo Sounds)  I have a feeling modern rock radio is going to pick this one up, if they haven’t already.  The quintessential ‘90s production: loud guitars, distorted vocals, and drums playing over drum samples.  But it’s got a good hook.

“Magic Carpet Ride,” Philip Steir featuring Steppenwolf.  Go Soundtrack Submission #3.  I thought it grandstanding on Steir’s part to actually put his name ahead of Steppenwolf.  After all, all he did was remix their original.  But to his credit, his remix rocks the house.