150 Best Albums of 2005

In his 2005 Pazz & Jop poll essay, Robert Christgau grieved over New Orleans and global warming in the wake of Hurricane Katrina, toasted Kanye West in the wake of his second-consecutive P&J victory and “George Bush Doesn’t Care About Black People,” and posited a rock-critic dichotomy pitting “electric neoclassicism” descended from “Anglo ethnic music” against “usually beat-oriented, usually child-oriented avant-primitivism.”

So let’s start this week’s taxonomy lesson there, shall we? Before long in the essay, it’s clear Anglo ethnic electric neoclassicism basically means “prog,” but a kind of prog that encompasses not only the great-grandchildren of Yes (such as fancy-pants metallurgists System of a Down and Mars Volta) but also apparently such compositionally and/or symphonically inclined indie types as the Decemberists, Stars, Andrew Bird, Fiona Apple, Sufjan Stevens and Sigur Rós, most of whom I forget what they ever sounded like and a couple of whom I forget that they ever existed. The beatful kidlike avant-primitivist stuff, on the other hand, is apparently best embodied by M.I.A. but also encompasses Go! Team, Deerhoof, Danger Mouse, Animal Collective and I’d guess Gorillaz too. None of whom blew me away in their prime, and one of whom I frequently wanted to strangle.

In fact, outside of M.I.A., none of the artistes I just listed made any of my 150 favorite albums-or-EPs of 2005. And once you get past my top two, the only record in my next 148 to place among the P&J Top 40 is the P&J Top 40’s top one, which places four-score-and-then-some lower on my list, and leads me to wonder whether people in the know still consider late registrant Kanye “the young century’s most gifted popular musician,” much less “smarter than his critics,” much much less “a decent man who’s canny about putting his decency into artistic practice.” If so, good for them. And him, I suppose. (Is it petty to ask whether Donald Trump cared about Black people?)

Anyway, let’s start with the easy ones. The proggiest hence most neoclassical band on my own list is probably either Opeth, generally still slotted under metal because that’s what they started as, or Van Der Graaf Generator. But especially if you include “space-rock” or “psych-rock” or that eternally amorphous catch-all “art-rock”, you could easily also rope in Avarus, Carpet Kings, First Band from Outer Space and MX-80 (né Sound.)

Out-and-out experimentalists Angel of Decay (“using two vintage analog synths, an Ensoniq DP2 effects processor, an analog cassette multi-track, a five-dollar microphone, and a CD burner”), Mark Appelbaum (“like John Cage’s late ‘number’ pieces, the players, synchronized by stopwatches, choose when to articulate given notes within specified time durations”), Bronnt Industries Kapital (“described as gaslight horrortonica” and featuring “automated Victorian instruments such as Lepping’s Patented Lapwing Harmonium”), Jonathan Kane (Swans’ first drummer), Jacob Kirkegaard (using “hydrophones and home-built electromagnetic receivers” to capture sounds of “volcanic earth, ice, atmospheric phenomena, nuclear power plants and deserted places”), Johnny Reinhard (finishing something Charles Ives started) and Skyline (“noisotic” radio transmissions), all of whom dabble more in tones or drones than songs, might belong with the neoclassicists as well. As might most of the metal bands I’m approving beyond Opeth: Bible of the Devil, Candlemass, Cathedral, Deep Purple, Drunk Horse, Early Man, Grand Trick, Minsk, remarkably well-named Novadriver, TNT, Warmachine, all the goth-metal goddesses compiled on Sirens. Several of those are loosely fileable under one or another “stoner” or “doom” umbrella-within-an-umbrella, and all except Minsk probably too song-oriented (i.e. not amorphous enough) for Pitchfork-trained metaltastes.

Then again, sometimes “stoner” is just a euphemism for “straight-up wholesome meat-and-taters ’70s-style blues-based hard rock,” and it wouldn’t be out of the question to assign, say, Drunk Horse or the Grand Trick or great-grandpas Deep Purple to a class with Dirty Birds, Doomfox, Electric Boogie Dawgz, Alvin Youngblood Hart, Howling Diablos, Hurricane Mason, Mighty Jeremiahs, Tomatoes, and great-great-grandpas the Rolling Stones. And by 2005, much to the consternation of purists, lots of mainstream commercial Nashville country was straight-up wholesome meat-and-taters etc.; in approximately descending order of hard-rockingness, that might apply to Kentucky Headhunters, Shooter Jennings, Miranda Lambert, Brooks & Dunn, Keith Anderson (album title: Three Chord Country And American Rock & Roll), Big & Rich, Gretchen Wilson, Shelly Fairchild, Cowboy Troy, Toby Keith, Carrie Underwood, Little Big Town, LeAnn Rimes, Bering Strait (from Russia!), Gary Allen, Jon Nicholson, Dierks Bentley, Faith Hill, Lee Ann Womack, Deana Carter, or Jamie O’Neal, depending where you draw the line — those last few might be more comfortable at a “pop” than “rock” party, but still.

Gol’dang that’s a lot of country! Could it possibly have been as dominant a genre as I’m making it out to have been at the time? Admittedly, most of those albums show up in the more marginal lower reaches of my tally, but 20 commercial c&w LPs out of 150 is still quite an impressive ratio. And that number doesn’t even include those releases that, certainly in the golden days of No Depression magazine, would more likely appeal to an “Americana” (or maybe still “alt-country,” not sure when the name changed — once upon a time was just “folk music”) crowd: elder statesman Bobby Bare, Duhks, Hacienda Brothers (really more soul-country but then again were Jon Nicholson and LeAnn and Lee Ann and sometimes even Brooks & Dunn and Toby Keith and Faith Hill), Maybelles, McGarrigles, James McMurtry, Elizabeth McQueen, Trish Murphy, Joy Lynn White.

You could slot the Desperate Housewives soundtrack as country (SheDaisy, Shania Twain, Martina McBride, LeAnn Rimes, Sara Evans) or Americana (by 2021 rules anyway: Indigo Girls, Liz Phair, Joss Stone, Macy Gray), but I’d be more inclined to label it pop, a woman-oriented equivalent to the girl-oriented Darcy’s Wild Life and Sisterhood of the Traveling Pants soundtracks (the latter featuring a then-unknown Katy Perry for starters), which in turn keep good company with what was then generally known as “teen pop” or maybe “Radio Disney music”: Fannypack, Ashlee Simpson, Marion Raven, Lindsay Lohan, Hope Partlow, Brie Larsen, Rihanna unless she counts more as r&b. Which, if so, would shamefully make her the only r&b artist below except for Fatty Koo way down in the 120s — shades of 1998/’99 — unless the somewhat staid if more than serviceable Katrina-benefit gumbo pot Our New Orleans or reggae scion Damian Marley count.

Annie from Norway, Djumbo from the Netherlands and t.A.T.u. from Russia serve as links between teen pop and Europop, a category also comprising Scooter, Bobby O, Yello, Axé Bahia and Crazy Frog, two of whom aren’t even from Europe and one of whom is a blue amphibian. And from Europop it’s just a short frog-leap to industrial rock, as in Germans :Wumpscutt: and Rammstein and frog-eaters Kill the Thrill, the latter two of whom I could easily have also included among metal bands. Industrial also lies adjacent to technoravelectronica or whatever it was called that year: Russian-Swedish CoH who Wikipedia actually calls “Glitch, Industrial IDM”; Germans Tarwater who Wikipedia tells me are “usually tagged as post-rock”; plus Kompakt and Breakbeat Science samplers.

Industrial borders on modern/alt/indie too, of course, though predictably or maybe not most of my selections in that bracket probably veer closer to afore-tabulated mainstream hard guitar rock, with intermittent notes of glam, garage, post-punk, pigfuck, oi! or hardcore: Hold Steady’s best album which also happens to be the most Catholic rock album ever made, Wide Right, She Mob, Red Swan, Clientele, Louis XIV, Cobra Verde, Hard Skin, Human Eye, A Frames, Golden Boys, Starvations, Jai-Alai Savant, Watchers, Indian Jewelry, F-Minus, Hatepinks. Pop-rock bands Tsar, Waltham, and the Hot Rollers, meanwhile, squeeze in somewhere between teen-pop and modern hard-ish rock themselves, and pop-goth bands Flyleaf and Birthday Massacre somewhere between teen-pop and industrial maybe. (What, no electroclash? I forget, do Fannypack count?)

Guess that pretty much raps up the (mostly) “white people” genres. Still not sure where Xgau’s beat-oriented, child-oriented avant-primitivism applies, beyond my #1; Jahcoozi like M.I.A. are Sri Lankan-descendent Londoners, so maybe them? Siberian Boris Kovač, Ukranian-etc. New Yorkers Gogol Bordello and Israeli New Yorkers Balkan Beat Box mix all manner of Eastern European and Middle Eastern rhythms into their rock, folk and/or techno, but there’s nothing particularly childish or primitive in the way they do it.

M.I.A. is generally considered a rapper, not terribly far from fellow Londoner Lady Sovereign or Somali-Canadian protester K’Naan in terms of shared elements of their select sensibilities, maybe even from London turntablists Scratch Perverts, Bmore club king Rod Lee or Cuban-Miami global party thrower Pitbull. Hip-hoppers overground (Lil Wayne, Young Jeezy, Kanye, everybody on Crunk Hits), underground (Perceptionists, Blackalicious, Farm Fresh, Blueprint, Lyrics Born) and just-plain groundless (Arrested Development-associated Atlanta rap-rock flops El Pus, Cowboy Troy again), meanwhile, each occupy their own staked-out grid coordinates in three-dimensional XYZ-axis space.

Which leaves jazz, sometimes not so far from the Anglo ethnic experimentalists up-post except for the Anglo part. Which isn’t to say its inspiration here entirely derives from the African diaspora — free-Weiling Italian accordion/sax team Gianluigi Trovesi and Gianni Coscia and tangofied Argentine bandoneonist Dino Saluzzi have squeezeboxes so Mamacita never sleeps at night; Philly pianist Uri Caine classics as often as he jazzes, though Shelf Life guests include soulman Bunny Sigler and electronicats Luke Vibert and DJ Olive. Otherwise, saxophone dominates albums by David Murray, Greg Osby, Charles Lloyd, Jessica Lurie, James Carter and sax quartet (including Lurie) the Tiptons.

James Blood Ulmer’s Odyssey The Band and ex-Shockabilly Eugene Chadbourne put guitar in the forefront (and Ulmer also lends axe to three Carter cuts.) Brewed By Noon are Afrobeating harmelodic jamsters led by a Brooklyn drummer; Hollywood Squaretet cacophonous Albert Ayler-obsessed L.A. ex-punks with a standup comedian on drums and a former Angry Samoan on bass. Bill Cole and William Parker trade woodwinds and occasional string instruments and talking drums from Ghana, Mali, China, Korea, India, Indonesia and indigenous Australia. And Same Mother, my favorite jazz album of 2005, is where Houston pianist Jason Moran gets the blues. So much for dichotomies, huh?

  1. M.I.A. Arular (Interscope)
  2. The Hold Steady Separation Sunday (French Kiss)
  3. Fannypack See You Next Tuesday (Tommy Boy)
  4. Miranda Lambert Kerosense (Epic)
  5. Boris Kovač & La Campanella World After History (Pirhana Germany)
  6. Deana Carter The Story of My Life (Vanguard)
  7. Drunk Horse In Tongues (Tee Pee)
  8. Ashlee Simpson I Am Me (Geffen)
  9. Jason Moran Same Mother (Blue Note/EMI)
  10. Djumbo Jump (CMM Netherlands)`
  11. David Murray 4tet & Strings Waltz Again (Justin Time Canada)
  12. Lil Wayne The Carter II (Cash Money/Universal)
  13. Skyline Private Sectors [Noiseotica V.3] (Free/03Point9)
  14. Greg Osby Channel Three (Blue Note)
  15. The Perceptionists Black Dialogue (Definitive Jux)
  16. Opeth Ghost Reveries (Roadrunner)
  17. Jessica Lurie Licorice & Smoke (Zipa! Music)
  18. Blackalicious The Craft (Anti-)
  19. Scooter Who’s Got the Last Laugh Now? (Sheffield Tunes Germany)
  20. CoH 0397 Post-Pop (Mego Austria)
  21. Van Der Graaf Generator Present  (Virgin Europe) 
  22. Wide Right Sleeping on the Couch (Poptop)
  23. Crunk Hits (TVT)
  24. The Carpet Kings Lost and So Strange is My Mind (Transubstans Sweden)
  25. The Kentucky Headhunters Big Boss Man (CBUJ Entertainment)
  26. Charles Lloyd Jumping in the Creek (ECM)
  27. The Mighty Jeremiahs The Mighty Jeremiahs (Ear X-Tacy)
  28. Desperate Housewives (Hollywood)
  29. Uri Caine Bedrock Shelf-Life (Winter & Winter Germany)
  30. Avarus Ruskeatimanti (Tumult)
  31. t.A.T.u. Dangerous and Moving (Interscope)
  32. Gianluigi Trovesi/Gianni Coscia Round About Weill (ECM)
  33. Our New Orleans 2005 (Nonesuch)
  34. Lee Ann Womack There’s More Where That Came From (MCA Nashville)
  35. Darcy’s Wild Life (Sony BMG Strategic Marketing Group)
  36. Mark Applebaum The Bible Without God (Innova)
  37. Bobby Bare The Moon Was Blue (Dualtone)
  38. MX-80 We’re an American Band (Family Vineyard)
  39. Bible of the Devil Brutality Majesty Eternity (Scarey Italy)
  40. Dino Saluzzi Senderos (ECM)
  41. She Mob Not in My World (Bonefish)
  42. Odyssey The Band Back in Time (Pi)
  43. Tarwater The Needle Was Traveling (Morr Germany)
  44. Kompakt Total 6 (Kompakt Germany)
  45. Keith Anderson Three Chord Country And American Rock & Roll (Arista)
  46. Scratch Perverts: FabricLive.22 (Fabric UK)
  47. Farm Fresh Time is Running Out (Peanuts & Corn Canada)
  48. K’Naan The Dusty Foot Philosopher (Track & Field/Sony BMG Canada)
  49. Kill the Thrill Tellurique (Season of Mist France)
  50. Bronnt Industries Kapital Virtue Et Industria (Static Caravan)
  51. Bobby O Outside the Inside (Radikal)
  52. Annie Annie (Big Beat)
  53. Angel of Decay Covered in Scars (Desolation House)
  54. Rod Lee Vol. 1: Operation Start-Up (Club Kingz/Morpheus)
  55. The Tomatoes The Rise and Fall of the Tomatoes (Revolution Blues)
  56. Bering Strait Pages (Universal South)
  57. Bill Cole & William Parker Two Masters Live at the Prism (Boxholder)
  58. Yello The Eye (Radikal)
  59. The Grand Trick The Decadent Session (Transubstans Sweden) 
  60. Axé Bahia Positivo (Univison/Fonovisa)
  61. Eugene Chadbourne The Hills Have Jazz (Boxholder)
  62. Red Swan Cold Winters Dawn (Red Swan)
  63. :Wumpscutt: Evoke (Metropolis)
  64. TNT All the Way to the Sun (Mayhem)
  65. Warmachine The Beginning of the End (Nightmare)
  66. Elizabeth McQueen and the Firebrands Happy Doing What We’re Doing (Freedom)
  67. Blueprint 1988 (Rhymesayers Entertainment)
  68. Kate and Anna McGarrigle The McGarrigle Christmas Hour (Nonesuch)
  69. Marion Raven Here I Am (Atlantic Europe)
  70. Toby Keith Honkytonk University (DreamWorks)
  71. Lindsay Lohan A Little More Personal (Casablanca)
  72. Alvin Youngblood Hart Motivational Speaker (Tone Cool/Artemis)
  73. The Tiptons Drive (Zipa! Spoot)
  74. Deep Purple Rapture of the Deep (Eagle)
  75. Lyrics Born Same !@#$, Different Day (Quannum Projects)
  76. The Clientele Strange Geometry (Pointy)
  77. Dierks Bentley Modern Day Drifter (EMI/Capitol Nashville)
  78. Rihanna Music of the Sun (Def Jam)
  79. Big & Rich Coming to Your City (Warner Bros. Nashville)
  80. Carrie Underwood Some Hearts (Arista)
  81. Rammstein Rosenrot (Universal Germany)
  82. Gogol Bordello Gypsy Punks: Underdog World Strike (SideOneDummy)
  83. James McMurtry Childish Things (Compandre)
  84. Novadriver Deeper High (Small Stone)
  85. Jacob Kirkegaard Eldfjall (Touch UK)
  86. Louis XIV The Best Little Secrets Are Kept (Pineapple/Atlantic)
  87. James Carter Organ Trio Out of Nowhere (Half Note)
  88. Brewed By Noon Brewed By Noon (Xcellar)
  89. Joy Lynn White One More Time (Thortch)
  90. Cobra Verde Copycat Killers (Scat)
  91. Sturmgeist Meister Mephisto (Season of Mist France)
  92. Young Jeezy Let’s Get It: Thug Motivation (Def Jam)
  93. Kanye West Late Registration (Roc-A-Fella)
  94. Crazy Frog Presents Crazy Hits (Universal)
  95. Cathedral The Garden of Earthly Delights (Nuclear Blast)
  96. Jamie O’Neal Brave (Capitol/EMI)
  97. Little Big Town The Road to Here (Equity Music Group)
  98. The Maybelles White Trash Jenny (Little Red Hen)
  99. Minsk Out of a Center Which is Neither Dead Nor Alive (At A Loss)
  100. Trish Murphy Girls Get In Free (Valley Entertainment)
  101. Hard Skin Same Meat Different Gravy (TKO)
  102. Jahcoozi Pure Breed Mongrel (Kitty-Yo Germany)
  103. Gary Allan Tough All Over (MCA)
  104. Early Man Closing In (Matador)
  105. Brooks & Dunn Hillbilly Deluxe (Arista Nashville)
  106. First Band From Outer Space We’re Only In It for the Spacerock (Transubstans Sweden)
  107. Jon Nicholson A Lil Sump’m Sump’m (Warner Bros.)
  108. Flyleaf Flyleaf (Octone)
  109. Doomfoxx Doomfoxx (Armageddon Germany)
  110. The Rolling Stones A Bigger Bang (EMI)
  111. Human Eye Human Eye (In The Red)
  112. Hope Partlow Who We Are (Virgin)
  113. Waltham Awesome (Rykodisc EP)
  114. The Electric Boogie Dawgz Sloppy, Fast & Loud (Hooch)
  115. Brie Larsen Finally Out of P.E. (Casablanca)
  116. A Frames Black Forest (Sub Pop)
  117. Shelly Fairchild Ride (Columbia)
  118. Balkan Beat Box Balkan Beat Box (Jdub)
  119. .Jonathan Kane February (Table of the Elements)
  120. The Sisterhood of The Traveling Pants (Columbia/Sony Music Soundtrax)
  121. Fatty Koo House of Fatty Too (DAS/Sony Urban/Columbia)
  122. Johnny Reinhard Charles Ives Universe Symphony (The Stereo Society) 
  123. Tsar Band Girls Money (TVT)
  124. Gretchen Wilson All Jacked Up (Epic)
  125. Sirens (Sonic Cathedral)
  126. Damian “Jr. Gong” Marley Welcome to Jamrock (Universal)
  127. Breakbeat Science Exercise 5 Mixed By Clever (Breakbeat Science)
  128. The Hot Rollers Got Your Number (Sweaty Betty)
  129. Shooter Jennings Put the O Back in Country (Universal South)
  130. Hurricane Mason It’s Only Miles (DitchBoy)
  131. Cowboy Troy Loco Motive (Warner Bros./Raybaw) 
  132. The Golden Boys Scorpion Stomp #2 (Perpetrator)
  133. El Pus Hoodlum Rock Vol. 1 (Virgin)
  134. The Birthday Massacre Violet (Metropolis)
  135. Lady Sovereign Vertically Challenged (Chocolate Industries EP)
  136. The Starvations Gravity’s a Bitch (GSL)
  137. LeAnn Rimes This Woman (Curb)
  138. The Duhks The Duhks (Sugar Hill)
  139. The Dirty Birds Rust & Resurrection (The Big Sleep)
  140. Hollywood Squaretet Tet Offensive (Gulcher)
  141. Howling Diablos Car Wash (Alive)
  142. The Jai-Alai Savant Thunderstatement (GSL EP)
  143. Faith Hill Fireflies (Warner Bros.)
  144. Hacienda Brothers Hacienda Brothers (Koch)
  145. Pitbull Money Is Still a Major Issue (TVT)
  146. Candlemass Candlemass (Nuclear Blast)
  147. The Watchers Dunes Phase (Glen Blandsten EP)
  148. Indian Jewelry Health and Wellbeing (Girlgang EP)
  149. F-Minus Won’t Bleed Me/Failed Society (Alternative Tentacles EP)
  150. The Hatepinks Plastic Bag Ambitions (TKO EP)


  1. via facebook

    Joey Daniewicz
    Chuck Eddy i imagine when you got the idea, you realized there was no other possible thumbnail choice you could make

    Chuck Eddy
    Yep — Nothing else came close.

    Zac Harmon
    Cool list. Is this the most in sync you’ve ever been with the larger critical zeitgeist in the 21st century?

    Chuck Eddy
    You mean just my top two? Because beyond that, as I say, I’m barely in sync at all. (Anyway, to answer your question, I’m not sure. But…maybe??)

    Zac Harmon
    I dunno. I see more artists who are critical faves here than I’m accustomed to seeing on a Chuck Eddy list. Of course, some of them (like Miranda Lambert and Rihanna) weren’t quite the critic’s darlings at the time that they are now.

    Chuck Eddy
    Yeah, I think those (and maybe some others) were generally thought of as singles artists by that point. Critics hadn’t quite caught on to Lil Wayne’s albums yet either, as far as I remember. K’Naan would be another. Again, only 3 albums in my top 150 in the P&J top 40. But still, you may have a point.

    Zac Harmon
    This Desperate Housewives soundtrack looks great. Must acquire.


    Sundar Subramanian
    I know Christgau prides himself on his classical music ignorance but “Anglo ethnic music” is so wildly inaccurate as a description of the European classical tradition and musics derived from it that it’s still shocking.

    Sundar Subramanian
    Of all the major European powers, England may well have had the least impact on classical music.

    Chuck Eddy
    Well, to be fair, he borrowed that phrase from somebody else.

    Sundar Subramanian
    He didn’t seem to take issue with it!

    Chuck Eddy
    Well, he clearly saw humor in it. Which isn’t entirely inexplicable.

    Sundar Subramanian
    It’s explicable, just worth questioning the assumptions behind the joke imo, especially when there IS a lot of Anglo folk (‘ethnic’) music influence in the ‘beat-oriented childlike primitive’ music he posits in opposition to it.

    Edd Hurt
    I think it’s pretty accurate.
    Pseudo-ethnic art song derived in part from prog. The Decembrists were a big influence on Americana!

    Edd Hurt
    I would say that prog-pseudo folk shit, which I find mostly pallid, derives from Traffic, Family, Genesis. Among other things. Maybe the Dead.

    Sundar Subramanian
    If you isolate the one example with strong Anglo-American folk-rock elements (instead of, say, Sigur Ros or Kate Bush), you could make a case but this was the reference to the original source: ” a string quartet strikes up a minuet: ‘Typical Anglo ethnic music. It was amazing how many Anglos had gone into the booming classical music scene. Anglos seemed to have some talent for rigid, linear music that less troubled ethnic groups couldn’t match.’ ”
    It’s explicitly about classical music aesthetics, which are not anglo in any real way, and frankly gets into the territory of stuff-white-people-like white humblebragging.


    Edd Hurt
    Good year for country for sure.

    Edd Hurt
    Great Gary Allan album.

    Steve Pick
    I’m gonna get to this later today or tomorrow – I’m looking forward to reminiscing about my year of unemployment.

    Steve Pick
    Out of your 150 favorite albums of 2005, I think I’ve only ever heard 4 – Hold Steady, McGarrigles, James McMurtry, and the Rolling Stones. As I mentioned, I was mostly unemployed that year, laid off after 20.5 years at the same record store, and trying out odd writing jobs that had nothing to do with music, or administrative assistant temp gigs. I was still on the radio, but I assume I was more focused on the Americana promos that still came my way than anything else. Certainly, even now, when my listening habits are wider than they’ve ever been, I wouldn’t likely gravitate to most of the non-country or non-jazz artists you list for this year. I’m sure I voted in Pazz and Jop that year – how can I tell what I picked for that? I was obviously outside Xgau’s, the voting writers, and your systems of taste.


    Jaz Jacobi
    Not that this list is the most zeitgeist-y representation of 2005 possible, but as an indicator of the era where I started “not keeping up” with new music in a way my younger self never woulda anticipated [which apparently goes back even further than I… See More

    Jaz Jacobi
    Oh wait, I think I have a promo CD of CRUNK HITS that I found in a box in the closet the other day, so maybe four?

    Chuck Eddy
    So don’t leave us hanging — What are the other three??

    Jaz Jacobi
    Louis XIV, which I really enjoy [follow-up album not as good, alas]; Fannypack; Tsar

    Chuck Eddy
    Ha — I was just about to recommend you Tsar!

    Jaz Jacobi
    I think I bought it for 25 cents, can’t really remember diving into it too heavily? I think I might have two albums by Tsar…

    Jaz Jacobi
    I believe they are the band with my favorite song title of the century: “You Can’t Always Want What You Get”!

    Jaz Jacobi
    Fannypack, I think I got free!


  2. My reply to Sundar would be that in the Lower 48 “Anglo” is (sometimes) shorthand for any “Caucasian” or “white” or “gringo” or “person w/ European ancestry” or “not-POC,” so I’m Anglo despite my Eastern-European background and so is the “5-year-old Anglo girl” in Legend Of The Glockeater who I was pretending was listening to and responding to Drunken Tiger (“if you’re a five-year-old Anglo girl and you’re down in the rec room putting on a show for your mom and her friends,” said Mom’s dad having served in the Israeli army or air force during the ’48 war). –But I haven’t reread the Xgau essay yet so I’m not really sure how Xgau’s using it

    Two of the albs here made my Top 10 of the decade, See You Nest Tuesday and Dangerous And Moving, both of which would go in the kids-are-fingerpainting category (though kids whose paints are mixed by adult producer impresarios) Fannypack would only be distantly related to avant-primitivism, and t.A.T.u. would be related not at all. Anyway, two in my top 10 is 100% above the average of one (by def’n one would be the average per year in a top 10 of a decade, in this case average being “mean” not “median” or “mode”).

    She Mob’s bass player was a good friend of mine in my San Francisco years.

    Liked by 1 person

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