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SOMB Top 250 Albums of '95 - '04


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#901 Elemeno P.T.

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Posted 15 November 2006 - 03:44 PM

zing.

but seriously, modern dylan is meh to me. love & theft is ok, and the new one suuuuucks.

I prefer the new one to Love and Theft. Neither comes close to "Time Out of Mind", his only masterpiece since Blood on the Tracks.
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#902 throughsilver

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Posted 15 November 2006 - 04:25 PM

'Mississippi' is a fucking good song.

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#903 Asher Ford

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Posted 15 November 2006 - 04:33 PM

I prefer Love & Theft of the three. I've never totally got into Time Out of Mind. The new one has my favorite song on any of them (Ain't Talkin), and it's a very solid album. I haven't heard a whole lot from this year, but it probably falls in my top 5 right now.

#904 The Good Dr Bill

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Posted 15 November 2006 - 05:36 PM

#89.

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Super Furry Animals - Rings Around the World

(907 Points, 17 Votes)

Year
: 2001

US Chart Position: #32 Independent

UK Chart Position: #3

Charting Singles: "Juxtaposed With U" (#14 UK), "Drawing Rings Around the World" (#28 UK), "It's Not the End of the World" (#30 UK)

Acclaimed Music Ranking: #18 (year), #126 (decade), #1098 (all-time)

Rank on Our All-Time Albums List: #499

AMG Says: "Super Furry Animals' leap to a major label in the U.K. with Rings Around the World isn't that drastic of a change -- Fuzzy Logic was also released on Epic in the U.S., Creation was subsidized by Sony, and they never were exactly wanting of money on their previous records -- but the band nevertheless seizes the opportunity to consolidate their strengths, providing an introduction for listeners that may not have been paying attention before. As such, it's hard not to consider it as a bit of a missed opportunity, since this is the first SFA album not to progress from its predecessor, or offer the shock of the new, and that's hard not to miss -- but, if this is the first SFA record you hear, it'll likely intrigue, even dazzle, with its kaleidoscopic blend of pop, prog, punk, psych, and electronica. Still, this is nearly Super Furry Cliff Notes, offering a glossy, big-screen variation on all of their themes -- decadently lush pop-psych, chugging rock & roll, bitter leftism, sublimely warped imagery, experimentalism wrapped in luxurious productions. Alluring, to be sure, and satisfying, too, and there certainly are wonderful details scattered throughout the album, the least of which are cameos by John Cale and Paul McCartney. Plus, there is exceptional songwriting here, such as the cinematic "Juxtaposed With U," "Sidewalk Serfer Girl," and "Receptacle for the Respectable," which encapsulates nearly every side of the band within five minutes. Still, it's hard not to want a little more from the band that was the best pop band of the late '90s. It's hard not to at least want surprises (since there are none) or, if it's going to be a consolidation, to have it be a statement of purpose, since it lacks either an overarching theme or a music that gels. So, it's not what it could have been, but what it is is still pretty damn great, satisfying with its melodies, textures, and ideas. Compared to what Super Furry Animals have done before, Rings Around the World pales slightly but noticeably, but compared to the dead world of mainstream and indie rock in 2001, it still shines brightly."

Ranked Highest By: Agrimorfee (#4)

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#905 The Good Dr Bill

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Posted 15 November 2006 - 05:49 PM

#88.

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Doves - The Last Broadcast

(919 Points, 19 Votes)

Year
: 2002

US Chart Position: #83

UK Chart Position: #1

Charting Singles: "There Goes the Fear" (#3 UK), "Pounding" (#21 UK), "Caught By the River" (#29 UK)

Acclaimed Music Ranking: #27 (year), #166 (decade), #1328 (all-time)

AMG Says: "When Doves issued Lost Souls in fall 2000, Britpop was immersed in its melodic gloom-and-doom era, ushered in by the success of Radiohead. The likes of Coldplay, Travis, Elbow, and Starsailor followed in their wake, as did Doves. What separated Doves from the rest was a glint of passion, evident on their 2000 debut, Lost Souls. Two years later, the atmospheric dreamscapes of Lost Souls were torn asunder for the musical daybreak of The Last Broadcast. As it turns out, the psychedelic vibrancy of "Catch the Sun," the brightest track on the album, pointed toward this brave second record. Gone are the hazy space rock trips and the cheerless attitudes; Doves are on the sunny side of the street for The Last Broadcast. The seven-minute sonic boom of "There Goes the Fear" finds Jimi Goodwin sharing vocals with Jez and Andy Williams for a glorious chorus. Each of them switches up vocal duties throughout, lending a joyous feel to the album itself. From the bold front of "Words" to the fiery momentum of "Pounding," The Last Broadcast shows a refreshing rawness that was absent before. The High Llamas' Sean O'Hagan delivers sweeping orchestral arrangements for the sublime "Friday's Dust," while the electronic dewdrops of "The Sulphur Man" push Doves' divine ambience further to the front.Doves were caught up in making grand compositions on Lost Souls, which worked fabulously, but it was too much. They've stripped down to the basics, letting the optimism of The Last Broadcast take center stage. It's a brilliant moment."

Ranked Highest By: No Magnets (#7)

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#906 bunk

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Posted 15 November 2006 - 05:51 PM

Great album.

#907 no magnets

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Posted 15 November 2006 - 05:56 PM

whoa, now we're getting somewhere! 89 and 88 are both nice surprises.

#908 scarymuppet

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Posted 15 November 2006 - 05:59 PM

Two awesomes in a row. Awesome.
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#909 Montana

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Posted 15 November 2006 - 06:56 PM

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Terrible band.

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More lifetime achievement sentimentality.
Every Sunday morning I wake up
I see you by your dresser doing your make-up
Fluttering a Chinese fan in a Knoxville fashion
All last night you tossed and turned
Your body was hotter than the night Richmond burned
You say you had a bad nightmare about tractor trailers crashing
- The Felice Brothers

#910 Slackmo

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Posted 15 November 2006 - 06:57 PM

Electro-Montana is dead. Long live Montana.
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#911 Pavement Ist Rad

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Posted 15 November 2006 - 08:31 PM


Fever is pretty great but I prefer Anniemal and What would the neighbours say? for 00's pop.

And I prefer Come and Get It, by Rachel Stevens, to all of them.

This man has taste.
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Damo Suzuki: So, um, yeah. Getting older isn't as bad as it sounds. Better than being young & poor (DjDrake) or young & slutty (SG) or young, poor and slutty (Paves); am I right?

Alright, my friends. It's time for another solid little rock jam

#912 The Good Dr Bill

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Posted 15 November 2006 - 09:17 PM

#87.

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Wilco - Being There

(928 Points, 18 Votes)

Year
: 1996

US Chart Position: #73

UK Chart Position: n/a

Charting Singles: "Outta Site (Outta Mind)" (#22 Modern Rock US)

Acclaimed Music Ranking: #9 (year), #116 (decade), #600 (all-time)

AMG Says: "While Wilco's debut, A.M., spread its wings in an expectedly country-rock fashion, their sophomore effort, Being There, is the group's great leap forward, a masterful, wildly eclectic collection shot through with ambitions and ideas. Although a few songs remain rooted in their signature sound, here Jeff Tweedy and band are as fascinated by their music's possibilities as its origins, and they push the songs which make up this sprawling two-disc set down consistently surprising paths and byways. For starters, the opening "Misunderstood" is majestic psychedelia, built on studio trickery and string flourishes, while "I Got You (At the End of the Century)" is virtual power pop, right down to the handclaps. The lovely "Someone Else's Song" borrows heavily from the Beatles' "Norwegian Wood," while the R&B-influenced boogie of "Monday" wouldn't sound at all out of place on Exile on Main Street; and on and on. The remarkable thing is how fresh all of these seeming clichés sound when reimagined with so much love and conviction; even the most traditional songs take unexpected twists and turns, never once sinking into mere imitation. "Music is my savior/I was named by rock & roll/I was maimed by rock & roll/I was tamed by rock & roll/I got my name from rock & roll," Tweedy sings on "Sunken Treasure," the opener of the second disc, and throughout the course of these 19 songs he explores rock as though he were tracing his family genealogy, fervently seeking to discover not only where he came from but also where he's going. With Being There, he finds what he's been looking for."

Ranked Highest By: B*Derty (#3)

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#913 Montana

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Posted 15 November 2006 - 09:28 PM

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Nice record, but it's aged about as well as the Bends.
Every Sunday morning I wake up
I see you by your dresser doing your make-up
Fluttering a Chinese fan in a Knoxville fashion
All last night you tossed and turned
Your body was hotter than the night Richmond burned
You say you had a bad nightmare about tractor trailers crashing
- The Felice Brothers

#914 The Good Dr Bill

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Posted 15 November 2006 - 09:41 PM

Don't talk about my moms, yo


#86.

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Madvillain - Madvillainy

(949 Points, 15 Votes)

Year
: 2004

US Chart Position: #179 / #10 Independent

UK Chart Position: n/a

Charting Singles: n/a

Acclaimed Music Ranking: #13 (year), #65 (decade), #622 (all-time)

AMG Says: "Madvillainy represents the highly anticipated collaboration between Madlib and MF Doom. Recorded throughout 2003 -- a year which, between the two of them (under various aliases), saw more than eight releases featuring their work. When Madvillainy was released in March 2004 it became obvious that the best was saved for last as MF Doom's unpredictable lyrical style fits quite nicely within Madlib's unconventional beat orchestrations. Twenty-two short and blunted tracks bang out mythical stories of villains and urban (anti) heroes trying to make it through with their ganja and wits still intact -- each flows together in a comic book fashion sometimes segued with vignettes sampled from 1940s movies and broadcasts or left-field marjuana-toting skits. Madvillainy's strength lies in its mix between seemingly obtuse beats, samples, MCing, and some straight-up hip-hop bumping. Take "Accordion" for example. A wacky accordion sample loops throughout a slow-paced beat and lazy bassline while Doom flies through almost unaware of the background at times. Or "Raid," which features a beat that seems to be so out of time or step with a traditional hip-hop direction. But Doom sits quite comfortable within its frame and sets up Medaphor for a slick guest appearance. Other guests include the bad character, Lord Quasimoto, on "Americas Most Blunted" and the Sun Ra-inspired "Shadows of Tomorrow"; Wildchild blasts million-miles-an-hour rhymes on "Hardcore Hustle" and Stacy Epps floats through "Eye." Madvillainy gets close to the genius seen on Quasimoto's Unseen, and like that record this one might take a few listens to find it. But once it clicks in, this disc stays in the CD player for days."

SOMB Says: "Recontextualizing! Oooh, sounds so revolutionary, sounds so...1980. Well, fuck yeah sampling has been around for a long time, and therefore so has recontextualizing bits of media, reforming cool little sonic sequences into something new. But Madvillain was different, Madvillain was a project that literally fetishized recontextualization: you hear the scratch of the needle slide over the cracks in the sampled record, the beatmaker's negative sound, the fuzzy aesthetics of the crate digger, everybody's favorite bad guy in 2004 because the keyboards have taken over, and then the computers, except for kanye but he's just doing one-track-jacks really, just a one-trick-pony, but...
This album is great.
It is all recontextualization, not just the beats, not just the organ-grinding soul/R&B bump of the dusky funk sampladelica, but also Doom's rapping. Odd ass out-of-nowhere lyrical allusions, but not like Ghostface (off-the-wall storytelling) or Cam'ron (monosyllabic gangsta confrontationalism) but simply pop culture reimagined. The “rocket scientist with a pocket winelist” drops lyrical references to King of the Hill and suggests that he’s “offsides like how Worf ride with Starfleet.” De La Soul might blow up, but they’ll never go pop; DOOM “never goes [pop] like snot bubbles.” And he sings soprano like “UNO DOS Y’ANOOOOO!” And don't tell me the beats are weak, or rehashed old madlib beats because they clearly strike into new emotional territory. There is nothing as beautiful and heart-rending as the chopped-up bits of piano and vocals reconstructed in the background of "Fancy Clown," and Doom's just rapping in character like he always is, behind a guise of another alter-ego but the emotion is pure and raw and rugged, a bit of humanity seeping through a metaphorical metal mask." -DJDee2005 (#8 Album of 2004)

Ranked Highest By: The Eyes (#10)

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#915 killerparties

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Posted 15 November 2006 - 09:59 PM

Very good album, I think I forgot to vote for it.
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#916 The Good Dr Bill

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Posted 15 November 2006 - 10:02 PM

#85.

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Weezer - Weezer (The Green Album)


Year
: 2001

US Chart Position: #4

UK Chart Position: #31

Charting Singles: "Hash Pipe" (#2 Modern Rock US, #21 UK), "Island in the Sun" (#11 Modern Rock US, #31 UK), "Photograph" (#17 Modern Rock US)

Acclaimed Music Ranking: #15 (year), #106 (decade), #954 (all-time)

AMG Says: "There's a reason why Weezer's third album consciously recalls the band's first, not just in its eponymous title, but in its stark cover, Ric Ocasek production, and tight pop songs. That's not because Weezer was trying to recapture its core audience, because, unbeknown to the band, it already had. Once its second album, Pinkerton, stiffed on the charts and was lambasted in the press (including an devastatingly unfair pan from Rolling Stone, who named it the worst album of 1996), the group dropped out of sight and leader Rivers Cuomo went into seclusion. Remarkably, the group's following, unlike so many of its peers -- from forgotten label-sponsored alt-rockers like Nada Surf to indie rockers as respected as Sebadoh -- never waned, it only strengthened, as fans slowly realized the brilliance of Pinkerton and how the debut only seemed better, catchier, funnier as the years passed. Weezer eventually realized this through the magic of the Internet (plus an uproarious Japanese tour), and hit the road in 2000, knocking out a new album at the end of the year, when the band realized that there were thousands of fans eager to hear a new record. The cynical out there might interpret this as crass commercialism -- "hey! they only made a record when they realized people were listening" -- but it's actually a reflection of one of Weezer's greatest strengths: Cuomo's shyness and awkwardness, neither of which he can disguise, no matter how he tries. He didn't want to record another album unless he knew somebody was listening, because he didn't know if there was a purpose otherwise. This is the quality that came shining through on Pinkerton (and is most likely the reason he disdains the album as too personal, no matter how great it is), and it's also apparent on this Weezer album (which will inevitably be known as The Green Album, much like how fans dubbed the debut The Blue Album, due to its cover background), even if he consciously shies away from the stark autobiography that made the previous album. Sure, there may be clues tucked away in any of these songs, but for the most part, this is simply a collection of punk-pop songs in the now-patented Weezer style. And that, quite frankly, is more than enough. This may be a very short album -- a mere 28:34, actually -- but that just makes it bracing, a reminder of how good, nay, great this band can be. Especially since this is a conscious return to the band's debut, this may seem like nothing special -- it's just punk-pop, delivered without much dynamic range but with a whole lot of hooks -- but nobody else does it this so well, no matter how many bands try. And, frankly, that's enough, because this band rocks tight and focused, with wonderful melodies and songs that have enough little details to give them personality, even when Rivers is avoiding personality. This is a combination of great performances and great songwriting, something that puts to shame both the mainstream rockers and underground wannabes of the early 2000s. That's Weezer's great strength -- they certainly are accessible, but they're so idiosyncratic within that realm, it's hard not to think of them as outsiders. The fact that this Weezer sounds as fresh as the first is as much a testament to the band's talents as the musical stagnation of the post-grunge, post-Britpop '90s, but three albums out, Weezer has yet to deliver a record that isn't immensely satisfying. Yeah, it's about 70 cents per minute, but you'd be a fool not to consider it just about the best value of any rock record released in 2001."

Ranked Highest By: Yancy (#1) (also ranked #2 by Dan and #4 by Bob Loblaw)

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#917 falling and laughing

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Posted 15 November 2006 - 10:05 PM

:o :lol:

#918 The Good Dr Bill

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Posted 15 November 2006 - 10:22 PM

#84.

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The Flaming Lips - Clouds Taste Metallic

(966 Points, 15 Votes)

Year
: 1995

US Chart Position: #16 Heatseeker

UK Chart Position: n/a

Charting Singles: n/a

Acclaiemd Music Ranking: n/a

Rank on Our All-Time Albums List: #191

AMG Says: "The same extraordinary madness that infected the best work of Brian Wilson rears its head on the shimmering and melodic Clouds Taste Metallic, a masterful collection which completes the Flaming Lips' odyssey into the pop stratosphere. The Pet Sounds comparisons are obvious -- two of the highlights are titled "This Here Giraffe" and "Christmas at the Zoo" -- yet not unfair; like Brian Wilson, Wayne Coyne has refined his unique vision into something both highly personal and powerfully universal. Similarly, while Coyne's lyrics remain as acid-damaged and inscrutable as ever, his densely constructed songs convey emotional complexities far beyond the scope of their head-case titles ("Psychiatric Explorations of the Fetus With Needles," "Guy Who Got a Headache and Accidentally Saves the World"); galvanized by equal parts newfound maturity and childlike wonderment, Clouds Taste Metallic is both the Flaming Lips' most intricate and most irresistible work."

Ranked Highest By: Burzum (#7)

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#919 killerparties

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Posted 15 November 2006 - 10:28 PM

Hell yeah! My first exposure to this album was from Batman Forever. "Bad Days" plays when the Riddler goes home one night. I loved that song.
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#920 theremin

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Posted 15 November 2006 - 10:28 PM

[b]#87.

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Wilco - Being There



This is a great record.

Unfortunately, it's mixed with a very mediocre album, and spread across two CDs.