Archive 2003

 REVIEW: TORI AMOS- SCARLET'S WALK (January)

Tori Amos' latest release, Scarlet's Walk, is a concept album about America, post-September 11th. Amos takes on the persona of Scarlet and the album is Scarlet's journey across America. The album offers reflections on different aspects on American culture ranging from religion to race. 

The album opens with "Amber Waves" where one young's woman's American dream goes from "ballet class to lap dance" and "into every young man's bedroom- you gave it up on DVD and magazine". "Pancake" is a biting commentary on intolerance where Amos hisses "you could have spared her- oh but no, Messiahs need people dying in their name". "Taxi Ride" also tackles intolerance in the form of homophobia where Amos observes "I fear the whole world is starting to believe you, just another dead fag to you, that's all". The title track hints at how lands were taken from the Native Americans and the American attitude of "you must admit the Land is now in good hands". The haunting "I Can't See New York" displays the sadness and confusion of September 11th. The album ends with "Gold Dust", a closure to the journey, where Amos reflects "as we are looking back and then we'll understand, we held gold dust in our hands". 

On Scarlet's Walk, Tori Amos tackles many issues. Her reflection brings up many issues that people don't like to address but are still very real problems in America. Amos does not necessarily offer answers to these questions. Confusion and questioning are themes throughout the album. Amos sums the album up best on the track, "Wednesday" when she proclaims "Can someone help me, I think that I'm lost, lost in a place called America". Tori Amos had a a good concept idea for her last release, Strange Little Girls, but the concept was poorly executed. Tori Amos' concept works this time on Scarlet's Walk. Musically, Scarlet's Walk is not as strong as Amos' earlier works (Little Earthquakes in particular). However, lyrically, Scarlet's Walk is brilliant. The album is thought provoking and provocative. Like the narrator, Scarlet, the listener will too be changed by the journey.

REVIEW: SUSAN MARSHALL IS HONEY MOUTH (February)

Susan Marshall has played a supporting role for years, most notably as a background singer for the Afghan Whigs during the 1965 tour. On Susan Marshall is Honey Mouth, Susan Marshall steps into the spotlight with a little help from her friends. 

Susan Marshall's voice is stunning. Her voice is bluesy, sexy, and sultry. Anyone who can make the Afghan Whigs' "My Curse" sexy has an amazing voice. Marshall begins the album with the sultry "Eyes of Love" where Marshall purrs "If you cry for me, I will cry for you". On "Act That Way", Marshall receives some guitar and writing help from former Afghan Whigs front man, Greg Dulli. "Act That Way" is lyrically reminiscent of the Afghan Whigs' cynicism when Marshall sings "I feel dirty and you say you feel used. I hate you when you act that way. Damn you and your self-righteous ways". Marshall receives more help from former Afghan Whigs members when Rick McCollum, John Curley, Michael Horrigan, and Doug Falsetti all play on "Let You In". 

While most of Marshall's songs have a bluesy feel, she explores other music styles. On "Love Me Again", she rocks out in way very similar to Bonnie Raitt. On "Black Sea Blues", the song almost has a bluegrass feel with the prominent feature of a fiddle. Marshall closes the album peacefully with the brilliant cover of Alex Chilton's "Nighttime" and the dreamy instrumental "October Song" cowritten by Greg Dulli. 

Marshall's striking voice makes Honey Mouth a worthy listen. My only complaint with the album is that it drags in some areas, in particular, on "I Don't Have to Crawl" which literally crawls musically. A lot of attention was given to Norah Jones last year for having a sexy, sultry voice. Susan Marshall's voice has the same unique tone to it. I am happy to see her step out of the background and showcase her talent both as a vocalist and songwriter.

TOM PETTY TAKES ON THE MUSIC INDUSTRY (March)

On Tom Petty's latest release, The Last DJ, he attacks the commercialism of the music industry. The songs "The Last DJ", "Money Becomes King" and "Joe", are Petty's bold musical essays on what is wrong with popular music today. 

CORPORATE RADIO SUCKS: "THE LAST DJ" 
With the exception of college radio stations, large national corporations own mainstream radio stations. These corporations decide the play lists for their radio stations based on what they think will "sell". Many very good bands are ignored by radio because they are not deemed "marketable". "The Last DJ" boldly attacks mainstream radio. Petty longs for "the last DJ, who plays what he wants to play, says what he wants to say". He openly criticizes the "celebrat(ion)" of "mediocrity" on mainstream radio. Since DJs are not allowed by the radio executives to play anything not on their set play list, Petty argues that "there goes your freedom of choice". Since several bands I like have never had a "hit" song, but Avril Lavigne is played every two hours on the radio, Petty is exactly correct that mainstream radio "celebrate(s) mediocrity". The bottom line is that mainstream radio is motivated by money not substance or as Petty observes "all the boys upstairs want to see how much you'll pay for what you used to get for free". 

COMMERCIALIZATION OF CONCERTS SUCKS: "MONEY BECOMES KING" 
Back in the day, bands relied on their talent to sell concert tickets. Now lights, dance moves, lip synching, corporate sponsorship, merchandise, and most of all, high ticket prices all factors into to the concert experience. On "Money Becomes King", Petty tells the story of "this cat named Johnny who loved to play and sing when money wasn't king". When Johnny played, "it spoke right to my soul, the sound was my salvation". Then "they'd double the price of tickets to go see Johnny's show" and "John came out and lip-synched his new lite beer commercial". Petty sadly concludes his story by stating "there was no use in pretending, no magic left to hear, all the music gave me was a craving for lite beer". It is absolutely amazing to me how commercial concerts have become. The Milli Vanilli scandal would have never happened if people cared about the music instead of the glamour. All large concert venues have become advertisements since they've all changed their names to the corporation that sponsors them. Ticket prices are ridiculously high. My friends, no one is worth $75+ a concert ticket to see. Every time you pay these prices, you are condoning artists who rip off their fans. Yes, the music has been forgotten and "money became king". 

RECORD LABEL EXECUTIVES SUCK: "JOE" 
On "Joe", Petty criticizes the record executives who are motivated by money more than quality music. Petty tells the story of Joe, "the CEO" who "makes the big wheels roll". His motto is "you get to be famous, I get to be rich". He says "bring me a girl, you put 'em on stage and you have 'em undress, some angel whore who can learn a guitar lick. Hey, that's what I call music". Considering that music today is over run by flashy performers with no talent, it is very evident that record CEOs look for "marketable" artists rather than "talented" artists. It is sad that the public would rather have an artist who looked good than one who spoke to them. Most of the record executives could care less about quality. As long as it sells, who cares? 

I applaud Tom Petty for using his mainstream status to address these problems in music today. He dedicates the album to "everyone who loves music just a little bit more than money". Sadly, we are the minority. However, there will always be a remnant of artists who make quality music that comes from their heart not their desire to line their pockets.

I LOVE AND HATE CD BURNERS (April)

Being a music lover, when CD burners became more common a few years ago, I embraced the new technology. Now that I have had my CD burner for a few years, I see both the advantages and disadvantages to this technology. 

If you read some of my past articles, you will know that in 2000 when the debate over Napster was raging, I very much was in support of Napster. I have not really changed my opinion over downloading music. I still believe that downloadable music is an excellent way to give exposure to underground artists and a way that the customer can sample music before buying it. I, however, oppose using downloadable music as a cheap way to get out of buying CDs. This rips off hardworking artists and music store owners. 2002 was one of the worst years financially ever in the music industry. The music industry executives were not hit as hard as the small business owners. Many record stores have closed in the last year. I don't feel that this is 100% due to the economy or lack of interest in music. CD burners have indirectly contributed to a mind set that it is OK to pirate music. While I have used programs like Napster to sample new music, I cannot condone repeatedly downloading or copying CDs as a way to get out of purchasing music. It ultimately rips off artists, is bad for business, and breaks copyright laws. 

I have traded live recording or "bootlegs" since 1996. When I started trading, CD recorders were not really available so people traded audio cassettes. Though cassettes are not the quality of a CDR, the rules were simple then: use a nice tape, no high speed dubbing, no noise reduction, don't cut songs between sides of the tape. Now CDRs are the standard medium for trading. CDRs have benefits over tapes: they are cheaper, easier and cheaper to ship, take up less storage space, and obviously are better quality. However, CDRs have completely changed the "rules" of trading. When CDR burners first became widely available, the primary rule of trading was to record DAO (disc at once). Now CDs can be recorded DAO or TAO (track at once). Some people hate MP3s source shows. Some people will only accept DAO shows, TAO is not acceptable. Some CD burning software will only record TAO. Occasionally burners will burn defective discs. Some people will not accept certain brands of CDRs. With all these rules, I think people have forgotten about the music. I trade shows because I love the music.   While I want the best quality copy I can get, I accept that bootlegs are imperfect recordings. I'm more concerned about the music. If there is a pop between the tracks, I can overlook this if the music is good. I think some people think that just because you throw something on a CDR, it will magically become a studio quality recording. To quote one of my favorite comedians, "you can polish a turd but it's still a turd". Trading should be fun. Too many rules can take away from the fun. Embrace the CD burner's technology but also recognize the limitations. 

While I wouldn't want to go back to the time before CD burners, I recognize all the new issues that CD burners have created. While technology makes our lives easier, it at the same time complicates them. It's because of these issues, that I have love/hate feelings towards CD burners.

TWO MEMBERS OF THE GATHERING FIELD FLY SOLO (May)

In recent months, two members of the Gathering Field have released solo albums. 

Gathering Field frontman, Bill Deasy, has returned with his second solo album, Good Day No Rain. While Deasy's first solo album,Spring Lies Waiting, was a worthy listen, Good Day No Rain is a more polished effort. Bill Deasy is a wonderful lyricist with a real gift for storytelling and his lyrics on this release do not disappoint. 

Personal relationships are at the center of Good Day No Rain. The highlight of the album is the opening track "I Want to Know". A very listener friendly tune, "I Want to Know" is about a guy who gets the girl of his dreams but still has doubts and insecurities. He wonders "Is it my curse to always make the good things worse? You were unattainable to me. But then you said, you could not shake me from your head. How could you want somebody like me? I want to know". On "Blue Sky Grey", the narrator is advising a friend against sabotaging a good relationship. He ponders "why do you turn the blue sky grey, she's the best thing ever". "Prisoner" focuses on the end of a relationship and the feelings of entrapment that can go with a relationship gone sour. Deasy bitterly states that he "feel like I'm a prisoner" and "Used to be I only wanted you to love me. Funny how things change". "Who We Are" already made an appearance on the Gathering Field's last album, So Close to Home. However, it is still a very good song and fits the relationship theme of the album. The album closes with "The Gift of Seeing Through", a self reflection. The narrator confesses "Sometimes I can't see the larger things, for the fear in front of me" and prays for "the gift of seeing through". 

The album's weaknesses are on the tracks "I'll Rescue You" and "I'll Be Here". These two songs are too similar lyrically to be on the same album and lack Deasy's sense of originality. 

Bill Deasy, once again, proves he is a thoughtful and powerful lyricist. Deasy has transitioned well as a solo artist. Good Day No Rain is a very personal album. The listener can see themselves somewhere in this album.
 

In addition to Bill Deasy, the Gathering Field's drummer, Joe Zelek, has stepped out from behind the drums and has released his debut solo album, Long Distance Sunday. On Long Distance Sunday, Joe Zelek is given the opportunity to showcase his song writing and singing abilities. While the Gathering Field had some songs about spirituality, Long Distance Sunday is a spiritual album from start to finish. Highlights from the album include the reverent "Hail Mary", the listener friendly "There Were Days", and the optimistic "God in Me and You". Bill Deasy even lends his vocals to his friend on "Here to There". Joe Zelek has made a worthy debut and the listener sincerely believes his optimism and spirituality when he proclaims that he is "a brand new man with a brand new heart" on "God in Me and You". 

For more information about Bill Deasy or Joe Zelek, 
visit http://www.billdeasy.com and http://www.joezelek.com

REVIEW: EVANESCENCE- FALLEN (June)

2003 so far has been a disappointing year for new music. However, Evanescence has proven they are worth the hype surrounding their hit single "Bring Me Life" from the movie,Daredevil. Evanescence successfully balances heavy guitars with the lush vocals of front woman, Amy Lee. Fallen is dark, creepy, and beautiful all at the same time. 

Reclaiming power is one theme that runs through out the album. The album opens with the rocker "Going Under" where Amy Lee declares "I won't be broken again, I've got to breathe, I can't keep going under". "Bring Me Life", featured heavily in the promotion of Daredevil, is a perfect fit for the movie but is also a strong song alone. It also is one of the best soundtrack moments since the soundtrack for The Crow. On "Haunted", Lee proclaims "I won't let you pull me down". "Taking Over Me" struggles with obsession and loss of power as Lee pleads "I have to be with you to live, to breathe. You're taking over me". 

Death and loss are another common theme on Fallen. On the spiritual rocker, "Tourniquet", Lee proclaims, "My God, my tourniquet, return to me salvation" in a debate over suicide. "My Immortal", also featured in Daredevil, is achingly beautiful as Lee laments, "This pain is just too real. There's just too much that time cannot erase". The album closes with "My Last Breath" and "Whisper", both reflections on death.
 

Fallen is a dark album to listen to. Amy Lee's vocals have so much emotion that the listener feels her pain, anger, and strength. While Amy Lee is the star of this album, guitarist, Ben Moody, also shines. His heavy guitars are strong and compliment Lee's strength as a vocalist. Evanescence has proven they are one of the best break out artists so far for 2003. Fallen is a strong album from start to finish and proves that Evanescence is more than a one hit band.

REVIEW: THE THORNS (July)

The Thorns is a project that brought together singer-songwriters Matthew Sweet, Shawn Mullins, and Pete Droge. The result is an album rich in harmonies and folk influences. 

The album opens with "Runaway Feeling", a sunny, sing-along pop song. "I Can't Remember" is a tear jerker ballad where the guys lament "I can't remember the last time you looked me in the eyes". The guys pay tribute to their friends in the Jayhawks on the Jayhawks' cover "Blue". One of the albums more interesting moment is "Dragonfly". The song experiments with instrumentation and is very folk influenced instead of pop. On the sweet "No Blue Sky", the guys observe "Where I am is making me hazy but the sun never looked so pretty going down". Another highlight on the album is the romantic "Long Sweet Summer Night", where "we're the only two people who are alive on a long sweet summer night". The album closes with "Among the Living", a deep reflection on life, death, and opportunities. 

The Thorns have received many obvious comparisons to the 1960's pop harmony groups such as Crosby Stills and Nash and The Beach Boys. What makes the Thorns' music more interesting and unique is the combination of folk instrumentation with the pop harmonies. Matthew Sweet can do very little wrong in my eyes but he does not disappoint with this project. Shawn Mullins is someone I have never cared for a solo artist but his effort is solid with the Thorns. I am not familiar with Pete Droge's prior work but his role in the Thorns is solid as well. Don't buy The Thorns if you are expecting it to sound like these artists' solo work. However, if you like harmonies and solid songwriting, The Thorns is a great album that gives a different musical perspective to these artists.

REVIEW: LIZ PHAIR (August)

Before Sex and the City, Liz Phair released Exile in Guyville in 1993 and showed the women could talk just as frankly about sex as men. In 1998, Liz Phair released her last album,WhiteChocolateSpaceEgg. At the time, Phair was now married and a mother. With WhiteChocolateSpaceEgg, it appeared that the married/mother Liz Phair had gone soft and lost the raw edge ofExile in Guyville. A divorced Liz Phair (not a very prolific artist) is finally back with her self titled come back. After WhiteChocolateSpaceEgg and hearing that Phair was working with Avril Lavaigne's producers, I'll admit I was skeptical about this album before it was even released. After listening to it, all of my doubts were gone. 

Phair has a lot of the frankness of Exile in Guyville on this album. On "Rock Me", Phair dates a younger guy and proclaims that "young guys rule" but admits "Your record collection doesn't exist. You don't even know who Liz Phair is. Pure potential with no credentials". On "Favorite", Phair tells a lover that he "is like my favorite underwear. It just feels right". As for "H.W.C', I'm not going to tell you what it stands for but let's just say it is the raunchiest Phair has been since "Flower" from Exile in Guyville. 

The album is not all sex though. Phair still shows a lot of maturity. On "Little Digger", Phair prepares her son for the fact that she is dating other guys than his Dad. On "Red Light Fever", Phair confronts a friend with a fear of commitment at many levels by stating "always going nowhere, afraid of going somewhere and somewhere is a place in your heart". The album's first single, "Why Can't I?" is a very radio friendly tune and is a lot more polished musically than any of Phair's prior work. 

On this album, Phair proves that she still has the rawness and sexiness of Exile in Guyville. However, the album is very polished and shows that Phair has grown as an artist. This album will not let down old Phair fans but will probably introduce her to a new audience. She has achieved the best of both worlds with this release.

THOUGHTS ON THE RIAA (September)

 In a year of record low CDs sales, hundreds of record store closings, the Recording Industry Association of America (RIAA) had to take action. Shutting down Napster several years ago was not enough. In a drastic and aggressive legal move, the RIAA required many large internet service providers to turn over a list of "major offenders" or users who download music "excessively" from programs such as Kaaza. The RIAA, in turn, has filed individual lawsuits against hundreds of music downloading's "major offenders". While something needs to be done to save the music, the RIAA's actions have raised many questions over an individual's right to privacy. 

When the controversy over downloadable music erupted in 2000, I spoke out in favor of Napster. I still believe that there are benefits to this technology. Downloadable music is not bad in limited use. However, like many things, it is the excessive use that is a problem. The users that the RIAA has targeted so far in their lawsuits are said to have downloaded thousands of songs. As a music fan, I am appalled by this kind of excess just for the sheer fact that it is being cheap and it rips off the artists whose music I cherish. I do not feel sorry for these users nor do I think they are "victims" of evil corporations. However, I have problems with the RIAA's method in remedying this problem. 

While I believe the artists need to be protected, this cannot come before individuals' right to privacy. The RIAA's actions have established a dangerous precedent. In an age where people bank, shop, and pay bills online, protection of confidential information on computers must be strictly protected. We arrest hackers for breaching privacy, but the RIAA has done just that legally. If the RIAA's can legally search computers, who will be given this type of access next? As a computer user, I feel that no one has a right to my computer files without my consent. The RIAA has acted like they are just protecting artists' work but their "big brother is watching" tactics have given them the portrait of being a big corporate bully. They are suing because they have the power to do so. These lawsuits are a scare tactic to make examples out of those who downloaded excessively. 

The worst part of the lawsuits is the RIAA's real motive for these lawsuits. They are not protecting artists or copyright laws. The RIAA has a lengthy history of creating contracts that deny artists of their royalties. As Tom Petty sang in "Joe", their motto has been "you get to be famous, I get to be rich". There is definitely a problem in the music industry right now. However, the RIAA could have remedied it better. They could have worked on developing technology to prevent CDs from being copied. They could have gone after Kaaza like they did Napster. Going against basic rights such as privacy has just made them the corporate bad guy. The RIAA is not a victim. The record executives are not victims. The users being sued are not victims. The true victims are the artists and the music store owners. Even with these lawsuits, they are still not being protected. The RIAA will not be their protector either.

REVIEW: VERTICAL HORIZON- GO (October)

 In 1999, Vertical Horizon was brought to the mainstream with their hit album, Everything You Want. Though Everything You Want was at times overplayed, it was everything a listener could want in an album. It was one of the few albums I can think of that every song on the album was a good pop song. I have been waiting for the return of Vertical Horizon and the wait is over with their new album, Go. 

Go starts out very much like Everything You Want. The first three songs, "When You Cry", the first single "I'm Still Here", and "Forever" are solid, radio friendly pop songs. Unfortunately, the album's weaker moments follow. "Sunshine" tries to use heavier guitars but the heavier sound is incompatible with Vertical Horizon's pop vocals and lyrics. Songs like "Goodbye Again" and "It's Over" sound too similar lyrically and lack much of Vertical's Horizon's originality. They also sound like too many other Top 40 songs. "Echo" feels unoriginal and following a formula and it is probably the album's weakest track. The album does redeem itself in the end with the beautiful, "Inside". The lush string arrangement adds musically power to the song. 

Go is not a bad album. However after an album as strong asEverything You Want, it is somewhat of a disappointment. My problem with album is that Vertical Horizon seems to be following a pop formula too much. Instead of a collection of original songs that found their way to the mainstream, Vertical Horizon is trying too hard to be mainstream on Go. Go has its good moments but it not good from start to finish as Everything You Want was.

REVIEW: TWILIGHT SINGERS- BLACKBERRY BELLE (November)

Anyone who has read any my articles, knows that I think Greg Dulli is nothing less than a musical genius. In 2000, Dulli released a CD by his side project, the Twilight Singers, titled Twilight As Played by the Twilight Singers. In 2001, Dulli's main band, the Afghan Whigs, called it quits. Blackberry Belle is Dulli's first release since the 2000 Twilight Singers' album and the break up of the Whigs. 

On the track "Teenage Wristband", Dulli asks "you wanna go for a ride?". On Blackberry Belle, Dulli takes his listener on a musical ride with him. The album opened with the moody "Martin Eden" where Dulli declares "Black out the window, it's party time" over a haunting piano melody. The next two tracks "Esta Noche" and "Teenage Wristband" could have easily fit on the Afghan Whigs' last album, 1965. "Esta Noche" features a full New Orleans horns section that will remind Whigs fans of "John the Baptist" from1965. "Teenage Wristband" is perfect power pop song with Dulli's melodic piano as a highlight. "St. Gregory" appears to be a self reflection that features some of the album's best lyrics. In true Dulli fashion, he purrs "they love me down in Texas" and proclaims "God knows, I got my reasons for every muthaf*ckin thing I say". The highlights of the album are the tracks "The Killer" and "Decatur St.". On "The Killer", Dulli's love for Prince shows. The song builds to a huge rock crescendo that reminds the listener of Prince's "The Cross". "Decatur St." is the album's sexiest moment where Dulli declares the "savior of misbehavior" over a funky piano and bass line. 

The album's only weak moments are at the end. "Fat City", a rap number previously released with DJ Muggs, is an OK song but feels out of place on Blackberry Belle. The album ends with "Number Nine", a track that Dulli shares lead vocals with Mark Lanegan, formerly of the Screaming Trees. The song drags on and really feels dull by the end of it. 

The first Twilight Singers was Dulli's collaboration with Shawn Smith and Harold "Happy" Chichester. On Blackberry Belle, Smith and Chichester are absent from the album but Dulli collaborates with over twenty musicians. While the first Twilight Singer's album suffered from overproduction at times, Blackberry Belle is a more consistent album in terms of production. While I miss Harold Chichester on this album, Dulli's other collaborations work well. This album is also closer in style to the Afghan Whigs, which will please old Whigs fans but is not too much of a departure for Twilight Singers' fans. Dulli proves again that there is no one musically quite like him.

THE BEST AND WORST OF 2003 (December)

THE BEST: 

Best Albums: 
Twilight Singers- Blackberry Belle (see review) 
Liz Phair (see review) 
The Thorns (see review) 
Evanescence- Fallen (see review) 
Paul Westerberg- Come Feel Me Tremble 

Songs I Heard on the Radio That Didn't Suck: 
Liz Phair- Why Can't I 
The Thorns- I Can't Remember 
Evanescence- Bring Me Life 
Evanescence- Going Under 
The Jayhawks- Save It For a Rainy Day 
Fountains of Wayne- Stacy's Mom 
Pete Yorn- Crystal Village 
Tori Amos- Mary 
Norah Jones- Come Away With Me 
Vertical Horizon- I'm Still Here 
Nickelback- Someday 
R.E.M.- Bad Day 

Cool Videos: 
I didn't see many videos this year but I loved R.E.M.'s parody of television news in "Bad Day". I also laughed at Fountain of Wayne's parody of the infamous pool scene from Fast Times at Ridgemont High in "Stacy's Mom". 

Best Discoveries: 
Evanescence 
Fountains of Wayne 

Cool Reissues 
Tori Amos- Tales of the Librarian- I have had mixed thoughts about some of Tori Amos' newer albums but this collection has compiled Tori's best work. The reissued B-sides ("Mary" in particular) and the new tracks are great, as well. 

R.E.M.- In View DVD- I hadn't seen a lot of these videos in a while and this video compilation was a pleasant walk down memory lane. This compilation, while not definitive of R.E.M.'s work, hits the highlights and pulls out some good more obscure videos. 

Best Live Experience 
The Thorns with the Jayhawks in Lexington, KY, 7/5/03 I have been a fan's Matthew Sweet's for years but had never seen him live. It was wonderful to finally see him play with his side project, The Thorns. It was a dream come true to have the opportunity to meet Matthew after the show because I have admired his work for so long. 

Honorable Mention: Liz Phair in Louisville, KY, 11/7/03 I never thought I would have the opportunity to see Liz Phair live because I don't believe she has ever played my part of the country until now. The show was a good, pleasant surprise. 

Best Album that I Never Thought Would be Released 
Black Cat Bone- Real Black Cat Bone ruled the music scene in my hometown of Lexington, KY in the late 1980's and early 1990's. But after a bitter break up almost ten years ago, I never thought these guys would together again let alone release, their shelved album, Real. Black Cat Bone made up and finally released this album. It was a treat for fans to finally get to hear the album we had wondered about for ten years! 

THE LOSERS 

-Jessica and Nick- I really could care less about these two twits. Unfortunately, the press won't let me forget them. I am sick and tired of hearing about about their "white", storybook wedding. If Jessica wanted to save herself until marriage, more power to her. Unfortunately, the media has made her the poster child of "virginity". This is a private, personal choice that should stay that way. The final insult is that these two morons have a TV show about their "perfect" marriage. Truly, this is a sign of how dumb our society has become. Who would want to watch this? 

-American Idol- I'll admit it- some reality TV can be entertaining. However, the people who have been on this show are nothing more than game show contestants. Why are they being treated as legit musicians? They don't deserve Rolling Stone covers, Christmas specials, movies, etc. I don't think five years from now anyone will be buying Kelly, Justin, Ruben, or Clay's music (see I know their names and I've never watched this show). Kelly's single, "Miss Independent", really pisses me off. I think this is suppose to be a "girl power" song but I take it more as a shot at single, independent women. Liz Phair could kick Kelly Clarkson's ass any day. 

-Lexington Music- I have always been a big supporter of the music in my hometown of Lexington, KY. Unfortunately in 2003, the bands that made Lexington great broke up, took breaks for recording, or pursued mediocre new projects. I read in the local newspaper this summer that Lexington music was alive because three new music clubs opened. Unfortunately, one club went out of business after a few months and one discontinued booking bands due to lack of interest. When there are no good bands, music clubs cannot have a good business. I am so embarrassed by the Lexington scene this year that I removed the local music section of this website. 

-The RIAA- In a year of record low music sales, something needed to be done. Unfortunately the RIAA (Recording Industry Association of America) thought suing teenagers for $2000 for "illegally downloading" music from services such as Kaaza, was the amswer. The RIAA had the opportunity to embrace new technologies to boost sales but instead they decide to be a corporate bully in these dumb lawsuits. 

-Did Kid Rock really need a Christmas special on VH1? Again, who is watching this? 

-I know I am hopelessly out of touch when I was not familiar with any of the songs on Rolling Stones' Top Singles of 2003 list. I am still reeling at the cover of Justin Timberlake proclaiming him "The New King of Pop". Something tells me that in twenty years, he won't be in the Rock and Roll Hall of Fame or anyone will even remember him. "King of Pop" indeed! .