In a departure from the usual this week, as part of the newspaper groups Album of the Decade debate/battle to the death, I’ve decided to have a crack at my choice. Follow the debate on Twitter by using this hashtag: #albumofthedecade, and vote using the poll at the bottom of this post.

Up The Bracket by The Libertines is without a doubt, THE album of the last 10 years, the record that defined a generation and forever made stars of dual songwriters/vocalists Pete Doherty and Carl Barât.

After the slew of (mainly crap) bands who The Strokes opened the floodgates to (The Vines anyone?) did anyone really expect four guys who effortlessly looked the part to produce something more than a flash in the pan? In the end, 2002’s Up The Bracket was an exhilaratingly out of control romp that changed the face of British music and created myths aplenty.

Doherty and Barât, inspired by Ray Davies and romantic notions of Albion, William Blake and The Clash, became the voices of a generation with their twisted and chaotic paeans to Blighty’s dark underbelly, ably assisted by Gary Powell’s muscular drums and John Hassal’s nimble bass-lines.

The Clash’s Mick Jones at the production desk imbues the bands raucous noise with a bit of know-how, and all 36 minutes of Up The Bracket is a glorious chase through to the end, each song more breathlessly exhilarating than the last.

Lots of the best elements of British music from the last 40 years are in there: blues, reggae, snarling punk, anthemic sing-a-longs and some of the juiciest rock riffs this side of the 70’s.

Boys in the Band fuses swaggeringly funky riffs into barbershop quartet style harmonies, while the good-times stomp of Death on the Stairs moves into the breathless onslaught of Horrorshow. Even the acoutic Radio America adds a delicate counterpoint to the rest of the album.

Throughout, it is the vocals of Doherty and Barât that hold the listeners attention the most, the love-hate nature of their relationship apparent in every syllable.

There have been few such vocalists in the last decade, ones who sang “And they watched old films flicker, across the palace movie screen, what a shame as she slipped in the rain, the poor dancing girl well she won’t dance again”, while spitting “I said you see these two cold fingers, these crooked fingers I show yous a way to mean no” the next.

This album truly gave British guitar music the shot in the arm (no pun intended) it needed and reminded everyone that romanticism still had a place in the modern world.

Before the bands sadly inevitable implosion and the tabloid misadventures of Doherty hijacked his reputation as a poetic genius, this album demonstrates the sheer talent of the two song-writers, which has only ever been shown in fits since.

Up The Bracket may not be to everyones taste, but unless you give it a listen, you’ll be the one missing out.

Vote for your album of the decade in the poll below.

Don’t forget the other candidates…

Arctic Monkeys – Whatever People Say I Am, That’s What I’m Not – By Ciaran Jones

Brand New – The Devil And The God Are Raging Inside Me – By Hugh Morris

Sufjan Stevens – Come On Feel The Illinoise – By Alex Smith

Bloc Party – Silent Alarm -By Joe Curtis

At The Drive In – Relationship Of Command – By Tom Victor

Bon Iver – For Emma Forever Ago – By Ammelio

The Killers – Hot Fuss – By Nick Moore

Daft Punk – Discovery – By Will Gilgrass

Coldplay – Parachutes – By Dan Bloom

Kings Of Leon – Only By The Night - By Caroline Cook

Bright Eyes – Digital Ash In A Digital Urn – By Emma Davies

In a change to the advertised schedule, today’s post is going to be music-related as I’m joining the debate on the album of the noughties.  Following the success of the sportsman of the decade blogs (Tom Victor’s post links out to all of them), we at CJS are now going to pour forth on the greatest contributions to the world music scene in the last 10 years…  Follow the debate by using this Twitter hashtag: #albumofthedecade, and vote on it here.

Arctic Monkeys – Whatever People Say I Am, That’s What I’m Not

The album's mildly controversial artwork

“Anticipation has the habit to set you up / For disappointment…”  Has an album ever had a more portentous opening line?  Its bathos and casual self-deprecation show that Alex Turner and the gang knew they were under pressure to perform when they finally brought an LP to the table, but there is an arrogance to it too: they knew they’d just made the best album of the decade, and they wanted to have a bit of a laugh about it.

When Arctic Monkeys released their debut on Monday January 23, 2006, the atmosphere was incendiary.  They had been catapulted into the limelight since giving away free CDs at their early gigs which had then hit the internet at the tail end of 2004.

Fascination was rife with Alex’s grotty evocation of life as a young man in Sheffield: the grimy bars of Rotherham in ‘Fake Tales of San Francisco’ are delightfully juxtaposed with the romance of New York, and the multivalent “lines” of the performers effortlessly debase the trendy image of musicians taking cocaine.

It all started, really, with ‘I Bet You Look Good On The Dancefloor’.  When it was released as a single in October 2005 and shot straight to the top of the charts the band became more than an internet phenomenon; they became a national obsession.  Young people could identify with their tales of boozy nights out and minor run-ins with bouncers (as in ‘From the Ritz to the Rubble’, about the legendary – and now defunct – Sheffield nightclub Kingdom).

The perspective of the lyricist is disconnected from his position; Turner is a young man about town but he shuns the boorish behaviour of those he sees “squaring up proper shouting” in ‘Red Light Indicates Doors Are Secured’.  He chooses here to laugh at it but later, in closing track ‘A Certain Romance’, he adopts a weary acceptance: “They’ll never listen / Because their minds are made up”.

Arctic Monkeys on stage at Old Trafford County Cricket Ground, July 28, 2007

The realism of the album allied with Turner’s vernacular was perhaps what most piqued the public’s consciousness; “int”s and “summat”s pepper the album, but obviously ‘Mardy Bum’ made the most of this.  That track in particular shows how well they can do pathos as well as humour; the words resonate with that poignant desperation of a man at the end of his tether in his relationship.

Whatever People Say I Am, That’s What I’m Not has everything.  It draws on popular culture in much the same way as The Libertines did in their references to classic British comedies; the lines from ‘You Probably Couldn’t See For The Lights But You Were Staring Straight At Me’ which refer to Some Mothers Do ‘Ave ‘Em (“So tense, never tenser / Could all go a bit Frank Spencer”) are not so esoteric as Doherty and Barat but are brilliantly humorous.

‘When The Sun Goes Down’ – which was probably even better in its original incarnation as ‘Scummy’ – is probably the most widely-known song from the album, and it still has revellers (particularly in Sheffield’s indie clubs, such as The Leadmill) bawling along in unison.  The snarling, grungey portrait of backstreet Sheffield cemented Turner’s position as one of the great social commentators of British music.

There are no weak spots, lyrically or musically, on this award-winning album.  Even Gordon Brown, when he was Chancellor of the Exchequer, tried to jump on the relentless bandwagon of Arctic Monkeys love, though later had to admit he couldn’t name a single song from them.

Since then, it’s all gone a bit Frank Spencer for him…

Foram eleitas a melhores músicas da década, e sinceramente esperava mais…

Eis a lista

1. Beyoncé – “Crazy in love”  – como diria o kanye west: “Single Ladies é a melhor música da década”
2. MGMT – “Time to pretend”
3. The Strokes – “Hard to explain”  – existem músicas deles que são melhores – Reptilia, Someday, Electricityscape…
4. MIA – “Paper planes”  – também existem música melhores dela – Pull up the people, 10 dollar, bucky done gun
5. Outkast – “Hey ya!”  – ainda lembro do estardalhaço com essa música, mas depois de eles deram uma bela sumida
6. The Rapture – “House of jealous lovers’
7. Klaxons – “Golden skans”
8. Blur – “Out of time”
9. Arcade Fire – “Rebellion (lies)”
10. Arctic Monkeys – “A certain romance”
11. The Libertines – “Can’t stand me now”
12. The Streets – “Dry your eyes”
13. The Walkmen – “The rat”
14. The White Stripes – “Seven nation army”
15. Yeah Yeah Yeahs – “Bang”
16. Rihanna – “Umbrella”
17. Yeah Yeah Yeahs – “Maps”
18. Outkast – “Ms Jackson”
19. Radiohead – “Reckoner”
20. Hot Chip – “Over and over”

Sobre o resto, não comentarei muito… A lista foi produzida pelo seminário inglês “NME”, o que esclarece o motivo de não haver outro tipo de música, ao não ser aquela relacionada com o idioma inglês… e também a maioria dos músicos serem ingleses…quero um dia poder ver uma lista que também envolva músicas com outros idiomas, existem músicas muito boas por aí e que não são cantadas em inglês.

. 

A review of the decade’s most important albums.

The noughties are being recollected with mixed reviews from musio-snobs, either it has been the new 1960s, filled with revolutionary changes and groundbreaking albums, or else a decade littered with manufactured pop and throw away acts. The fact is, it has been both, just as the ninties was, but whether you are a cynic or not you must realise that we have been graced with some of the best albums of our time in the last time years. Each of the albums below with forever hold their place in the realm of musical excellency.

Absolution- Muse

Muse are without doubt the most remarkable band of the decade. As a three piece band they are often praised for the enormous sound they emit, and Matt Bellamy has been regarded as the best front man since Freddie Mercury. Absolution is the band’s third album and was a powerful follow-up to the album that broke them, Origins of symmetry. The album, released in 2003, transformed the rock ballad from something we cringe at, to something by which are blown away and which  we embrace, particularly with the track that inspired the album’s title, Sing for absolution. It set the musical standard for the remainder of the decade, but it would become nigh-on impossible to reach the sound levels or vocal talents of Muse.

Elephant- White Stripes

The White Stripes have had plenty of impressive albums over the last 10 years, ranging from different styles and levels of maturity, but Elephant was the album that made them sore from quaint and interesting two piece band, to modern day living legends. They recorded the entire album on 8 track and pre-1960s recording equipment in the space of two weeks. It includes a song fronted by Meg White and several raucous and retro sounding rock tunes such as Girl, you got no faith in medicine. It will definitely go down in music history and be stored alongside Chuck Berry’s Roll over Beethoven LP.

This is it- The Strokes

Rough Trade records were the most innovative record company in Britain during the 1970s and 80s, but eventually everything crumbled and it seemed as though the music industry would be dominated by mainstream labels. Until they discovered The Strokes at the beginning of the decade, and in 2001 they released their debut album, This is it. The album was like nothing we had heard before, 11 songs of smug New York Rock and Roll, it  was as though the sound of The Big Apple was being fed into our bedrooms. With the heavy, distorted guitar and bass, disillusioned lyrics and Julian Casablancas gruff vocals, they were the sound of the new slightly drunken and dishevelled generation. The band created the scruffy, yet some how well kept image that would soon become known as “the indie look”, you’d be a fool to argue against the point that The Strokes made a near-unsurpassable impact on music with this album.

Up The Bracket- The Libertines.

Rough Trade records continued their reinstatement into the music world with the band that launched a thousand carbon-copies. The Libertines released their debut album in 2002 and although it was far from a storming chart success, it will forever remain the prime example of Indie Music as we now know it. Marking the revival of British music, the power of this album is heavily underestimated and not at all rated as highly as it should be. Perhaps too many people focus on Doherty’s personal life, rather than his undeniable lyrical talent. Not only did the band reinforce the music industry in Britain after Oasis’ spiral into meritocracy, they invented “bromance” before the term was even coined. Carl Barat and Pete Doherty’s very close relationship endeared a lot of people to the concept the band represented almost as much as the music. If any album of the decade was given the title of “Soundtrack to the new Indie generation”  it would undoubtedly be this one in particular.

Vampire weekend- Vampire weekend

The final and most recent of our most remarkable albums of the past ten years, Vampire Weekend, was released in 2008, and therefore too late to actually influence the music of the decade. The album was however, completely different to everything that had come before. American Indie music had not been as prominent, or indeed as inspiring as its British Counterpart, and Vampire Weekend enhanced the entire concept of Indie. Their music is fast, fun and above all else happy. The amalgamation of lead singer,  Ezra Koenig’s seamless and high-tuned vocals and the high pitched guitars and keyboards lends an otherworldly atmosphere to the album. It is the epitome of Indie music, which was once described by spin magazine as “any music to which  a so-called Indie Head can bop and sway”, which is something the body feels compelled to do as soon as the first track, Mansard Roof, plays in. What other accolade could they want other than their most popular song to date, A-punk, being the anthem of every well-respected Indie club in Dublin city?

Everyone loves music, even the ones who pretend its just ‘alright’ can’t wait to get home and listen to that album they hold so close to their heart & what better than to share your favourite bands with the rest of the world?

This is in no way a list of my top 3 favourites of all time, but just a list of what is floating my boat at the moment.

Kid Harpoon – www.myspace.com/kidharpoon

I’ve been a fan of Kid Harpoon for a good few years, and although only ever having the pleasure of seeing them live twice, they are an absolute delight. Fronted by Tom Hull, they (as a band and when Hull preforms on his own) tick all the boxes I needed to add them to, rather small, list.
To date, Kid Harpoon have released a single, 2 EP’s and more recently their first official release of an album, entitled ‘Once’.

Roses Kings Castles – www.myspace.com/roseskingscastles

Everyone knows The Libertines and everyone knows Babyshambles & Dirty Pretty Things.. but do you know Roses Kings Castles?
Fronting this one man band is the drummer of Shambles himself, and ex-middle school drum teacher, Adam Ficek (also known for his, lets say, individual Twitter updates)
Going for his own trademark approach of DIY music, he’s created an always growing fan-base with an album, a handful of singles an EP’s, all with songs the man in the straw hat himself probably envies.
Adam is always on tour, either Djing his ‘Electroindie’ mixes or playing with both his bands, so check his Myspace to see when hes next in your town..

Mumford and Sons – www.myspace.com/mumfordandsons

If you ever had any doubt that Folk wasn’t cool, Mumford and Co help demolish any you might have left.. Rising up onto the, now ever growing, Indie-Folk scene at the same time as Laura Marling and friends Noah and the Whale, Mumford and Sons have took the UK by its ears and released a chart topping Album (reaching 11th from top in the UK Album Chart) and got the whole of the UK and Australia listening to there sweet songs till there iPods and Creatives can’t take anymore.

Una de las bandas más interesantes que ha salido del Reino Unido en los últimos 5 años, ha alcanzado su popularidad gracias a los sencillos de sus dos primeros discos: Dancing Shoes, I bet you look good on the dancefloor, Fluorescent Adolescent o Teddy Picker, que además de pegajozos, sin duda son unos temazos. Ahora los chicos de Sheffield acuden al genio Josh Homme para grabar su tercer disco y los resultados son muy gratificantes.

Comenzando con My propeller, inmediatamente llama la atención que la banda se distancia del sonido del disco anterior, Favourite Worst Nightmare. Ahora no parecen estar apurados o necesitados de hacer las canciones más rápidas que puedan componer, lo que les permite experimentar con nuevas propuestas. Así, el cuarteto se americaniza y sustituye el frat rock por una ambientación lúgubre con un sonido ligeramente sucio, que recuerdan de cierta manera la propuesta stoner del desierto de California, que el productor Homme ayudó a forjar desde los noventa con bandas como Kyuss o Queens of the Stone Age.

En conclusión, Humbug termina siendo un disco que como nieto lejano del Mojave Desert, tiene un compendio de canciones muy parecidas entre sí, donde a pesar de que no hay temas que puedan reventar en la radio o que vayamos a escuchar en una fiesta, dejan claro que la banda liderada por Alex Turner no se conforma con escribir himnos para los borrachos de Inglaterra, y han comenzado a madurar su sonido. El resultado: uno de los mejores discos de este año.

torrent.

Video del primer sencillo: Crying Lightning

Segundo sencillo: Cornerstone

Hace un tiempo en el blog posteamos las listas de los mejores discos de la década según Uncut y Pitchfork. Esta vez la que se pronunció al respecto fue la prestigosa revista musical NME, que confeccionó una lista de 100 álbumes.

El disco que ocupó el primer lugar fue Is This It, de los neoyorquinos The Strokes, que había quedado 5º en la lista de Uncut y 7º en la de Pitchfork.

Portada de la edición británica de Is This It

Esta es la lista hasta el puesto 50. El resto, disponible acá.

01. The Strokes – Is This It
02. The Libertines – Up The Bracket
03. Primal Scream – Xtrmntr
04. Arctic Monkeys – Whatever People Say I Am, That’s What I’m Not
05. Yeah Yeah Yeahs – Fever To Tell
06. PJ Harvey – Stories From the City, Stories From the Sea
07. Arcade Fire – Funeral
08. Interpol – Turn On The Bright Lights
09. The Streets – Original Pirate Material
10. Radiohead – In Rainbows
11. At The Drive In – Relationship Of Command
12. LCD Soundsystem – The Sound Of Silver
13. The Shins – Wincing The Night Away
14. Radiohead – Kid A
15. Queens Of The Stone Age – Songs For The Deaf’
16. The Streets – A Grand Don’t Come For Free
17. Sufjan Stevens – Illinoise
18. The White Stripes – Elephant
19. The White Stripes – White Blood Cells
20. Blur – Think Tank
21. The Coral – The Coral
22. Jay-Z – The Blueprint
23. Klaxons – Myths Of The Near Future
24. The Libertines – The Libertines
25. The Rapture – Echoes
26. Dizzee Rascal – Boy in Da Corner
27. Amy Winehouse – Back To Black
28. Johnny Cash – Man Comes Around
29. Super Furry Animals – Rings Around The World
30. Elbow – Asleep In The Back
31. Bright Eyes – I’m Wide Awake, It’s Morning
32. Yeah Yeah Yeahs – Show Your Bones
33. Arcade Fire – Neon Bible
34. Grandaddy – The Sophtware Slump
35. Babyshambles – Down In Albion
36. Spirtualized – Let it Come Down
37. The Knife – Silent Shout
38. Bloc Party – Silent Alarm
39. Crystal Castles – Crystal Castles
40. Ryan Adams – Gold
41. Wild Beasts – Two Dancers
42. Vampire Weekend – Vampire Weekend
43. Wilco – Yankee Hotel Foxtrot
44. Outkast – Loveboxxx/The Love Below
45. Avalanches – Since I Left You
46. The Delgados – The Great Eastern
47. Brendan Benson – Lapalco
48. The Walkmen – Bows and Arrows
49. Muse – Absolution
50. MIA – Arular

The Libertines’ 2002 debut Up the Bracket was voted second in the list of the top 50 albums, with Primal Scream’s XTRMNTR coming in third. Bands such as Radiohead and Arctic Monkeys, plus record producers and label bosses were among those who cast their votes. Guitar-led rock acts dominated the list with nine out of the top 10 places.

Is This It, with its lo-fi scratchy guitars and hits like Last Nite and Someday, was one of the most acclaimed albums of the year when it was released in 2001. Its infamous cover shows a hand in a black vinyl glove resting on a woman’s naked thigh – thought by many to be a reference to Spinal Tap’s fictitious Smell The Glove album.

The Strokes’ frontman Julian Casablancas said of his band’s top position: “It’s totally crazy! I thought it was great when I heard. “But does it mean it’s a good musical decade or a bad musical decade? I don’t know, I’m such a bad judge of my own stuff.

The year 2002 is the most well-represented in the list with eight albums, including releases by Interpol, The Streets and Queens of the Stone Age.

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To celebrate The Strokes being voted number 1 album of the decade by NME readers here is one of their great songs, Hard To Explain…

Do I agree with the choice? Not telling (er… not sure) but I do love the album… a lot. And I would have been very disappointed to see the The Libertines in the top spot – they are definitely too high up in my humble opinion.

EDIT: The video is all a bit modern-Koyaanisqatsi. Now there’s a piece of music that is deserving of super-high-mega-accolades.

It’s around this time each year that journalists, bloggers and any one else similarly obsessed with letting everyone know their bloody opinions get rather excited.

This has nothing to do with the imminent gifts or feasts of meat and alcohol that xmas inevitably brings.

No, this time of year means one thing for these people. Lists.

Yes, they have already started flooding in. Furthermore, this year, while not quite as salivatingly-big an opportunity as the Millennium, we have the prospect of a ‘greatest album of the decade’-a-thon!

The NME has this week been the most prolific perpetrator of this culture with their 100 Greatest Albums of the Decade.

On first inspection, and considering the usual standards of the aforementioned publication, their list seems surprisingly good. The Strokes don’t seem a bad shout for number one seeing as whatever is chosen will make people who believe too much in their own opinions cry. The album also sounds fairly relevant nine years on.

The inclusion of the obligatory Radiohead, Interpol and The Holdsteady also tick the seemingly ‘given’ boxes needed to appease their blinkered readership. And although I wouldn’t argue with any of these, how they figure In Rainbows is better than Kid A is bewildering. Even for the NME.

Arcade Fire’s Funeral and Relationship of Command by At the Drive In are nice surprises, as are The Rapture, Bright Eyes and The Walkmen. All excellent albums.

But, and this is rather large interjection, when you look at the detritus filling out the other spaces on the list, and think about it for marginally more time than it takes to flick through the New Musical Express’ fickle pages, the list loses rather a lot of credibility.

I know this debate is essentially down to taste so I wont deride choices such as Green Day’s American Idiot or Klaxons’ Myths of the Near Future; no one is forcing us to read this. However, I feel the list is characterised by its frankly puzzling omissions: worthy albums; albums which I would expect the NME to include.

Where was Phoenix’s amazing Wolfgang Amadeus Phoenix? Where was Burial’s Untrue? Where the bloody hell was Madvillainy?!

These are not the esoteric choices of a bitter music snob. These are merely the most surprising and obvious absentees from an NME list. Is Kasabian’s Empire a not better — if not, more obvious — choice than the detestable and shallow ‘band’ Hard Fi?

Are the NME being purposefully pugnacious by not including anything by Daft Punk? How can one recognise Bright Eyes and Sujan Steves yet ignore Iron and Wine?

My point is to ask if NME are taking the piss or if they really are as inept as we have long suspected?

Lists are controversial; that’s why they are published. But to show that when making a list there’s no need to be so firmly camped inside a bubble of shit, here are some far more considered alternatives.

Paste Magazine’s top 50 albums of the decade.

and

Pitchfork’s 20 greatest albums of the ’00s.

Opinions etc?

Back in September, the Telegraph published its list of the 100 songs that defined the noughties. Reading through it, I found myself nodding in agreement at times and throwing my arms up in shock and disapproval at others.

A few days ago I tweeted the story to my followers, asking them for the songs that had defined their decade. After a few days work, I’ve come up with 50 of the songs that have defined my decade. These are the songs that, in my opinion, tell the story of the noughties—from 2000 to 2009—and will be remembered for years to come, whether because of their artistry, their controversy, or their relevance.

A few things to remember about my list:

• I grew up with music from both the US and UK, so the list will reflect that fact.  This means you may not have heard of some of these songs.  If not, I highly suggest you listen to them.
• This list is by no means authoritative or complete.  Choosing 50 songs of that define a decade is nearly impossible, as everybody’s songs are colored by their own experiences.  I’m no music critic–just a fan–so keep that in mind.
• The songs are grouped by years, but that’s it; there is no ranking, no rhyme or reason why songs are ordered the way they are.
• The annotations are accurate, as I have done my research.
• Not all songs on here are songs I necessarily enjoy, but may be songs that have simply impacted pop culture in general.
• I tried to only pick one song from an artist–the exception being Justin Timberlake, who appears on the list as a member of *NSync and later as a solo artist.  If I hadn’t, for example, Leona Lewis’s cover of Run would have made the list, as would have Everytime by Britney Spears
• I tried to keep it to five songs per year, but as you’ll see, this didn’t completely work.
• I highly encourage you to debate my choices, comment with your own, and compile your own list.  The more music we can remember, the better off all our playlists will be!

With that, I give you my top 50 songs of the 2000s.

2000
“Bye, Bye, Bye” by *Nsync
A catchy song about breaking loose of a no good lover, it garnered the boyband a Grammy nod for Record of the Year and is arguably their most memorable song.

“Wonderful” by Everclear
“Please don’t tell me everything is wonderful now…” sings a boy to his emotionally absent parents. This song got me through the darkest hours of my life.

Britney Spears in her iconic music video for "Oops!... I Did it Again"

“Oops!… I Did it Again” by Britney Spears
The lead single from Britney’s sophomore album, it remains one of the most infectious pop songs of the past 30 years.

“I Hope You Dance” by Leann Womack
Still Womack’s only number one hit, “I Hope You Dance” was—and still is—played at high school graduations across America.

2001
“Island in the Sun” by Weezer
Though it never cracked the Billboard Hot 100 in the US and only charted at 31 in the UK, “Island in the Sun” proved that Weezer was still “hip, hip” and provided some musical escapism in the aftermath of 9/11.

“Where Were You (When The World Stopped Turning)?” by Alan Jackson
It’s impossible to discuss 2001 in music with out mentioning Alan Jackson’s moving tribute to the 9/11 attacks. Eight years later, it is still the most poignant song to be written about that day.

“Fallin’” by Alicia Keys
Establishing Keys as the preeminent songwriter of our generation, “Fallin’” captured the 19 year old the Grammy for Song of the Year.

“Ms. Jackson” by OutKast
Not their biggest hit, but for a generation of high school students, “Ms. Jackson” provided a sick beat and a warning about the risks of teenage pregnancy. It also foreshadowed the great work OutKast would produce later in the decade.

2002
“I’m With You” by Avil Lavigne
Lavigne’s work leaves much to be desired, but there’s no denying the emotions behind her lyrics and vocals in this piece, which may epitomize the year between 9/11 and the invasion of Iraq.

“Beautiful” by Christina Aguilera
Released on Christmas Eve, “Beautiful” is arguably Aguilera’s most artistic moment—and the video doubtlessly her most daring. A song that inspired all those “othered” by society.

“Clocks” by Coldplay
It captured the Record of the Year Grammy for Coldplay. More importantly, it was heard in practically every film trailer and television show for the next two years, and it has one of the most memorable melodies of any song this decade.

“Courtesy of the Red, White, and Blue (The Angry American)” by Toby Keith
If Alan Jackson penned a moving tribute to 9/11, Toby Keith penned a shameful rallying cry for revenge against… well, he never really figured that part out. Still, even to this day, something about this song compels me to listen.

“Unchained Melody” by Gareth Gates
Admittedly more of a personal choice than anything, for a great number of Millennials (especially those from the UK), Gareth Gates is inexplicably connected with their adolescence.

2003
“Miss Independent” by Kelly Clarkson
The song that established Clarkson—the first American Idol—as more than a one-hit wonder, she showed the world that she would be around for years to come.

“Hurt” by Johnny Cash
Daring to cross genres and defy stereotypes, “Hurt” introduced Cash—and his amazing collection of songs—to a new generation of fans. It’s also one of the most moving songs of the decade, made all the more jarring because of the parallels with Cash’s own booze-soaked life.

“Mad World” by Gary Jules
Surprising everyone by taking the Christmas number one on the British charts, Jules’ version is arguably the most moving rendition of this song—including the original.

“American Life” by Madonna
Released on the heels of the invasion of Iraq, Madonna coupled it with a video so controversial even she decided to reshoot it. No song defines the Bush years better, proving even in a new century, Madge is still relevant.

“Leave Right Now” by Will Young
The first Idol ever—anywhere—produced one of the most emotional farewell songs in years.

2004
“What Became of the Likely Lads” by the Libertines
As Pete Doherty’s life spun out of control, he penned this lament about a friendship lost. (In this case, with fellow Libertine Carl Barat.) Fittingly, though sadly, it was the group’s last single.

“She Will Be Loved” by Maroon 5
Not Maroon 5’s biggest hit, though possibly their most memorable, “She Will Be Loved” defined my first year of college.

“Redneck Woman” Gretchen Wilson
Say what you will about Gretchen Wilson, but “Redneck Woman” introduced Nashville to the Musik Mafia and brought about a renaissance in country music.

Brandon Flowers of The Killers from their video for "Mr. Brightside," one of the biggest hits of 2004

“Mr. Brightside” by the Killers
Las Vegas’ best resurrects glam rock. Enough said. Though not the first single from the Killers, “Mr. Brightside” is the song that cemented their place in the pantheon of noughties rockers.

“If Heartaches Had Wings” by Rhonda Vincent
You’ve probably never heard of this song, about a woman full of regrets, and that’s okay. Still, it is the best bluegrass song of the decade. Plus, the video stars Miley Cyrus before she was Miley Cyrus.

2005
“Gold Digger” by Kanye West
Kanye is one of the most controversial artists of the decade (to put it mildly), but “Gold Digger” was one of the biggest songs of the year. And rightly so, as it’s just as catchy as the rest of West’s work.

“Baby Girl” by Sugarland
Though released in 2004, Sugarland’s debut single didn’t climb the charts until early 2005, inaugurating lead vocalist Jennifer Nettles as the newest diva in the country music pantheon. On a personal note, the lyrics to this song was the first text message my grandparents ever received; I sent it to them requesting money.

“I’m ‘n Luv (Wit a Stripper)” by T-Pain ft Mike Jones
Admit it—you were singing along with the rest of us.

“Wake Me Up When September Ends” by Green Day
A song about the death of Billy Joe Armstrong’s father, the video was yet another slap in the face of the Bush administration by the preeminent rockers of the day. The song struck a nerve with a nation growing weary of war.

“You’re Beautiful” by James Blunt
Blunt’s debut single may have made it hard to believe he is a former soldier, but it introduced him as one of the sappiest crooners of the decade.

2006
“SexyBack” by Justin Timberlake
We didn’t even know sexy had left until Timberlake told us so. With that voice and those beats, though, we believed him.

“Chasing Cars” by Snow Patrol
One of the most romantic songs of the decade, this was the track that finally propelled Snow Patrol to mainstream American success.

“Rehab” by Amy Winehouse
Besides resurrecting 1960s soul, Winehouse’s salute to alcoholism and broken hearts established her as one of the most talented—and tragic—stars of the decade.

“I’m Not Ready to Make Nice” by the Dixie Chicks
After being shunned—and threatened—by country music fans for speaking out against the Iraq War in 2003, Natalie Maines and the Dixie Chicks came back with a vengeance, speaking for disgruntled progressives everywhere and nabbing five Grammys in the process.

“Last Request” by Paolo Nutini
The first single released from Nutini’s inaugural effort, this aching plea for one last night with a lover broke hearts across Britain. Though he’s struggled to find mainstream success in the US, “Last Request” has still managed to win over countless Yanks.

2007
“Rule the World” by Take That
A perfect song to accompany acclaimed fantasy film Stardust, “Rule the World” helped reestablish Take That as a premier British band—and is the song I will dance to at my wedding.

“Bleeding Love” by Leona Lewis
The biggest thing to come out of a television talent show on either side of the Atlantic, Leona Lewis scored a massive hit with her debut single, penned by Ryan Tedder and Jesse McCartney. Arguably the most memorable song of the decade, “Bleeding Love” established Lewis as the definitive diva of her generation, thrusting her into the same league as Whitney, Celine, and Mariah. (Note: Yes, it didn’t come out in the US until 2008, but it was a massive hit in the UK in the autumn of 2007—which is when I first heard it.)

“Umbrella” by Rhianna

Rhianna's "Umbrella" was the defining song of summer 2007

An annoying but catchy tribute to unyielding friendship, with this song Rhianna told the world she wasn’t going anywhere. Plus, as the Telegraph pointed out, it provided the perfect soundtrack for a rain-soaked summer.

“Grace Kelly” by Mika
You can’t be faulted if, upon first listen, you thought someone had resurrected Freddie Mercury. With “Grace Kelly,” Mika helped usher in the era of wonky pop.

“With Every Heartbeat” by Robyn
Heartbreaking and infectious, Robyn proved that the Scandinavians are still better at making quality pop records than we are.

“Flourescent Adolescent” by the Arctic Monkeys
Not their biggest hit, and perhaps not even their best song, but “Flourescent Adolescent” still managed to define 2007 for those who rebelled against the previous five songs. Plus, with lyrics like “everything’s in order in a black hole/nothing seems as pretty as the past though/That Bloody Mary’s lacking in Tabasco/Remember when you used to be a rascal?” it was the perfect accompaniment to the onset of the Great Recession.

2008
“Love Story” by Taylor Swift
Swift’s biggest single up to that point, “Love Story” helped propel her out of Nashville and introduce her to an international audience. It also proved Swift as one helluva songwriter.

“No Air” by Jordin Sparks ft Chris Brown
The best duet of the decade, hands down. Though Chris Brown is now more infamous for domestic violence than famous for his music, the blended vocals of Sparks and Brown illustrate why they’re both young stars on the rise.

“I Kissed a Girl” by Katy Perry
Offensive to the gay community or an innocent anthem for bicuriosity? Either way, “I Kissed a Girl” was the song of summer 2008 and propelled Perry to stardom.

“My President” by Young Jeezy
Never a huge hit, but there is something special in remembering the election of America’s first black president—a defining moment not just of the noughties, but of modern history. This song is the celebration of a milestone preceded by centuries of struggle.

“Paper Planes” by MIA
No song better describes Britain’s and America’s irrational fear of brown people than does this anthem for immigrants and oppressed minorities everywhere. The gunshots and ringing cash registers only serve to make the song all the more memorable—and relevant.

Beyonce's video for "Single Ladies" is one of the most iconic of the decade. Just as Kanye West.

“Single Ladies” by Beyonce
God, this song is annoying, but Kanye was right—Beyonce did have one of the best videos of all time. Besides, you have to admit, it’s catchy as hell.

2009
“Party in the USA” by Miley Cyrus
If the noughties defined Miley Cyrus, Miley Cyrus defined the noughties. Surprising, well, everybody, Cyrus managed to actually produce a quality pop record that, probably unintentionally, embodied the optimism of youth in the Obama era.

“TikTok” by Ke$ha
If you haven’t heard this song yet, go listen. I don’t know what the future has in store for Ke$ha, but this is one of the best night-out-on-the-town songs to come along in years.

“Never Forget You” by the Noisettes
Sure, Duffy’s throwback to 60’s soul is more successful, but nobody, except maybe Winehouse, can touch the artistry of Shingai Shoniwa.

“Just Dance” by Lady GaGa
When I heard this song on the radio in January, I told my best friend it was the first song that made me feel like it was 2009. Turns out, 2009 was the year of GaGa. If the forecast “Just Dance” provides is any indication, the teens will be dominated by Lady GaGa.

“Need You Now” by Lady Antebellum
An understated, underappreciated single from an underrated group, Lady Antebellum proves they are the future of country music with “Need You Now.” An aching song about longing for an old flame, it’s the best song Nashville has had to offer in 2009.

La revista británica, New Musical Express, eligió el disco debut “Is This it”(2001) de los sobresalientes chicos de New York, The Strokes, como el mejor de la década, de acuerdo a un listado que comprendía a cerca de 50 bandas de  renombre mundial.

De acuerdo a la publicación de la NME el disco de los estadounidenses sobrepasaba las producciones de los ingleses, The Libertines con “Up the bracket” (2002) y a los míticos y consolidados Primal Scream con “XTRMNTR“ que quedaron relegados en un tercer puesto de la lista.

El frontman de los Strokes, Julian Casablanca,  afirmó que es “genial” ocupar el primer lugar de la legendaria revista, agregando que “grabar el álbum fue divertido y estresante, pero muy emocionante. No quiero exagerar, pero muchas veces me entusiasmo mucho”.

Vapt! Os primeiros 10 anos do milênio voaram. Já pipocam listas de melhores da década, especialmente na Inglaterra. O Times de Londres publicou a de 100 melhores filmes. E o NME, de melhores álbuns. Para o semanário musical, o ganhador é…

1. The Strokes, com Is This It, de 2001. No Top 10, entraram ainda:
2. The Libertines, “Up the Bracket”;
3. Primal Scream, “XTRMNTR”;
4. Arctic Monkeys, “Whatever People Say I Am, That´s What I´m Not”
5. The Yeah Yeah Yeahs, “Fever to Tell”
6. PJ Harvey, “Stories From the City, Stories From the Sea”
7. Arcade Fire, “Funeral”
8. Interpol, “Turn On the Bright Lights”
9. The Streets, “Original Pirate Material”
10. Radiohead, “In Rainbows”

Eu acho que o top 10 é forte, embora em alguns casos os ingleses tenham puxado a sardinha demais pro lado deles. Como sempre acontece em qualquer enquete do tipo. É lógico que a Kerrang! vai ter outra lista, assim como a Classic Rock, a Rolling Stone, a Mojo…

Você pode ver a lista completa dos 100 mais do NME aqui, com direito a clips.

Breve, o semanário divulga sua lista das 100 melhores canções da década!

La revista británica, New Musical Express, eligió el disco debut “Is This it”(2001) de los sobresalientes chicos de New York, The Strokes, como el mejor de la década, de acuerdo a un listado que comprendía a cerca de 50 bandas de  renombre mundial.

De acuerdo a la publicación de la NME el disco de los estadounidenses sobrepasaba las producciones de los ingleses, The Libertines con “Up the bracket” (2002) y a los míticos y consolidados Primal Scream con “XTRMNTR“ que quedaron relegados en un tercer puesto de la lista.

El frontman de los Strokes, Julian Casablanca,  afirmó que es “genial” ocupar el primer lugar de la legendaria revista, agregando que “grabar el álbum fue divertido y estresante, pero muy emocionante. No quiero exagerar, pero muchas veces me entusiasmo mucho”.

(Published article Number Two for TVBomb. Hopefully it’ll create a bit of dialogue between people, as I’ve been quite controversial in it)

Last week NME sieved out the crap from the shite and published their ‘Top 50 albums of the decade’. Topping the list was The Strokes’ 2001 record ‘Is This It?’ which many, including myself, would deem possibly worthy of this accolade. But The Libertines at number two and twenty-four? Babyshambles in there twice? Surely the past ten years has yielded a much richer harvest than this meagre allotment.

Muse’s behemoth third album, ‘Absolution’ holds epic sound that sees the three-piece backtrack from the harsh, raw tones of ‘Origin of Symmetry’ to a beautifully crafted and sometimes fragile piece of art that is both massively heavy (Hysteria) and elegantly gentle (Falling Away With You) in equal measures. This decade has seen Muse voted Best Live Act at every conceivable awards ceremony and become one of the most talked about modern bands on the planet.

“Oh, what’s that you say? Pete Doherty is cool, is he? Oh…we better only make Absolution number forty-nine, then. Stick Pete at number two. We’ll have to get Barat up there too.”

Despite the top fifty albums appearing upside-down at times, at least the likes of PJ Harvey, Muse, Blur, The White Stripes and Amy Winehouse are mentioned. However, where are Kasabian – who unarguably catapulted from obscurity to one of the biggest bands in the country from their self-titled album in 2004 and the two albums that followed.

What of Doves – a band which, for me personally, typified everything about the culture, mindset and society that we have lived in during the last ten years in their four albums, with era-defining tracks There Goes The Fear, Black And White Town and Snowden. What world is it where Klaxons are more note-worthy than these? Oh I forgot – Klaxons where skinny jeans…my bad.

Franz Ferdinand, Frausdots, Garbage, TV On The Radio, Gorillaz, The Cardigans, Manic Street Preachers – none are given recognition. I’m not saying these bands shook the world with their noughties renditions, but they definitely deserve to be up in the top fifty.

One puzzler in particular is the inclusion of The Walkmen within the top 50. Their albums are anything but strong. On the other hand track two on Bows And Arrows, The Rat is fantastic, and holds a passion that’s seldom heard on the musical spectrum.

Perhaps the quandary is that there have perhaps been too few (or too many?) albums of specific note during this first jiffy of the 21st century. In this day-and-age of the disposable lifestyle, where millions of creative minds can be tapped into and listened over, something has got to give eventually. That something is the patience and understanding to let an album grow on you. I wholeheartedly understand that PJ Harvey is difficult to get into, but once you do you’ll NEVER look back. Don’t go for the cheap thrill, people! It’s like buying a Big Mac instead of a slap-up meal…a prostitute over a loving wife…Klaxons over anything and everything. It’s an immediate high that will eventually make you forget how much better the other side can sometimes be.

Luke Langlands

A tradicional revista britânica NME elegeu os 100 álbuns que marcaram a primeira década do século 21 com a ajuda de músicos e figurões da indústria como Arctic Monkeys, Carl Barat, The Killers, Jarvis Cocker, Pete Doherty, Elbow, Johnny Marr, MGMT, Ian Brown, The Big Pink, Snoop Dogg, Alan McGee, Yeah Yeah Yeahs, Michael Eavis e muitos, muitos outros.

Os 10 primeiros lugares seguem abaixo:

1. The Strokes – Is This It (2001)
2. The Libertines – Up The Bracket (2002)
3. Primal Scream – XTRMNTR (2000)
4. Arctic Monkeys – Whatever People Say I Am, That’s What I’m Not (2006)
5. Yeah Yeah Yeahs – Fever To Tell (2003)
6. PJ Harvey – Stories From The City, Stories From The Sea (2000)
7. Arcade Fire – Funeral (2004)
8. Interpol – Turn On The Bright Lights (2002)
9. The Streets – Original Pirate Material (2002)
10. Radiohead – In Rainbows (2007)

O que achou? Foi um top 10 justo? Confira toda a lista aqui.

por Rafael Matos

Somos constantemente inundados por seriados americanos nos canais pagos da TV a cabo, ou nos canais abertos que se limitam às séries mais populares em versões dubladas e em horários impraticáveis por todos aqueles que não trabalham como vigilantes noturnos. Muitas dessas séries são ótimas e uma opção super válida para aqueles que, como eu, não vêem graça nas tramas de Manuel Carlos e Glória Peres. Mas fato é que, seriados não são exclusividade dos americanos. Fazem-se outras séries em outros lugares do mundo e elas são tão boas quanto as americanas.

O seriado britânico The Inbetweeners é um ótimo exemplo. A série, que está a caminho da terceira temporada, passa no canal Channel 4 e conta a história de quatro amigos nos últimos anos de colégio e suas tentativas frustradas de serem populares e basicamente, fazerem sexo. Ok, num primeiro olhar, nada de novo aqui, história batida e contada a exaustão em filmes e em seriados americanos. A genialidade da série e as risadas vêm dos ótimos diálogos que capturam perfeitamente  a realidade de muitos adolescentes, independente da nacionalidade. Piadas sobre pais e mães, opção sexual, abstinência, álcool e muitas outras estão lá, sem pudores e em situações pra lá de constrangedoras e que fariam qualquer rabugento gargalhar. E é nesse realismo descompromissado que reside o charme da série que em momento algum tenta ser o que não é. Simplesmente  trata-se de uma comédia sobre adolescentes que querem se divertir. A série é claramente feita para o público adolescente, mas se você já passou dessa idade, mas manteve a mente aberta, com certeza irá se divertir com as situações vividas pelos protagonistas, afinal, você já foi um adolescente um dia, certo?

O quarteto de atores protagonistas são ótimos. Will (Simon Bird) cujos pais acabaram de se divorciar, é obrigado a mudar de casa e de escola. Claramente um geek, ele estudava em uma escola particular e terá que abandonar a sofisticação que que está habituado para se adaptar às regras de uma escola pública. Ele agora estuda na Rudge Park Comprehensive e terá que enfrentar as chacotas dos outros estudantes enquanto tenta ser popular e fazer novos amigos. Ele logo se aproxima de Simon (Joe Thomas), Jay (James Buckley) e Neil (Blake Harrison) mas logo descobre que seus novos parvceiros não são muito mais populares do que ele.

Com apenas 6 episódios em cada temporada (uma característica das séries inglesas, que geralmente possuem menos episódios por temporada) o programa traz uma trilha sonora inspiradíssima, contemplando várias bandas do senário britânico como Air Traffic, Arctic Monkeys, Vampire Weekend, Belle & Sebastian, Jamie T, The Libertines,  The Fratellis, Kate Nash, The Wombats, The Cure, Lily Allen, Biffy Clyro e vários outros. A música de abertura é a “Gone Up in Flames” da banda Morning Runner .

E se você está se perguntando como fazer para assistir um seriado britânico na tv, sendo que os canais só dão visibilidade aos americanos, bom… existem duas respostas. a primeira é importando o dvd das duas temporadas lançadas. A segunda opção eu não posso contar, mas se você é fissurado em seriados, certamente sabe o caminho. Então corra para conferir esse ótimo seriado, diferente de tudo que estamos acostumados a ver e aguardem que em breve traremos mais séries da terra da rainha que valem a pena ser conferidos.

PS.: a série fez tanto sucesso nas duas primeiras temporadas que já está com a terceira confirmada para 2010 e um filme também está nos planos dos criadores.

I spent this afternoon at a friend’s party to celebrate the publication of her book. The do was at The Rosemary Branch in Islington, in one of those parts of London where poverty and riches lie side by side as in a Dickens novel.

While fetching drinks in the downstairs bar a scruffy young sod ambled in. It was Pete Doherty.

The first thing that I noticed was his height. He is a six footer. I am only 5′7″ so he dwarfed me.

Then I noticed the tattoos on his neck. Not a good look, Peter.

His hair hadn’t been washed for a few days. I cannot claim the moral high ground on that – when I was 18 I didn’t wash my hair for six months.

Making my way back upstairs he was blocking my way. Whichever way I went he followed. Knowing that everybody was looking at him, Doherty put on a performance. It was like the scene in the Marx Brothers’ Duck Soup when Harpo copies Groucho’s moves exactly until they eventually collide.

Doherty asked “Which way are you going mate?” and then finally I was able to pass.

So that is how I “met” Pete Doherty on a Sunday afternoon in north London. I am not a great fan of his music – Carl Barât was the brains in The Libertines, I reckon. And as far as cocky young musicians go, Johnny Borrell of Razorlight is for me the best. He likes cricket, which is always the sign of a gentleman.

My friend Ann Tilyer’s book is called An A-Z of Possible Worlds. It is a collection of 26 short stories presented in a box.

It is great. Please buy it.

Hola estimados seguidores, que seguramente son muy pocos, pero en fin los estamos invitando para que nos ayuden a poder hacer la lista de los mejores 100 discos de esta década. Y pues estoy seguro que muchos tienen sus favoritos así que pues por medio de votación iremos sacando los discos. Así que esperamos nos den 10 opciones en los comentarios de esta entrada y pues yo pondré mi lista, ya se que 10 discos es muy poco, pero si pueden poner mas adelante,  traten de pensar en esos discos que creen cambio la manera de hacer música y formaron ó son parte importante en sus vidas.

Gary Powell, drummer for The Libertines, Dirty Pretty Things and Eddy Grant

One of the top contenders for my best album from 2009 comes from its a buffalo (lower case, no apostrophe), a 4-piece out of perennial music hotspot, Manchester. First appearing in late 2006/ early 2007 with two strong 7″s – “Broken Toy” b/w “Climb Climb” and “Divorce Song” b/w “Somewhere in Range” on Akoustik Anarkhy Recordings – Ben, Steve, Nigel, and James combined upbeat Manchester pop with jangly guitars, all-in-the-room hooks, and tinges of modern Americana instrumentation.

When their debut album, Don’t Be Scared, dropped earlier this year on Akoustik Anarkhy Recordings, the aforementioned 4 songs were supplemented by 6 others, creating a brilliant Manc-rock debut. After some fairly high profile gigs around the UK, its a buffalo decided to go on an indefinite hiatus; sad news for their small band of loyal followers.

Pick up its a buffalo’s amazing debut at Akoustik Anarkhy Recordings

Uma das bandas que nasceram com o fim do The Libertines, mais agitada que o Yeti, banda terminou em 2008 mas vale a pena conferir o som.

Faixas do álbum:

1. Deadwood

2. Doctors and Dealers

3. Bang Bang You’re Dead

4. Blood Thirsty Bastards

5. The Gentry Cove

6. Gin & Milk

7. The Enemy

8. If You Love a Woman

9. You Fucking Love It

10. Wondering

11. Last of the Small Town Playboys

12. B.U.R.M.A.

LINK – Waterloo To Anywhere

Parece com? The Libertines, Babyshambles, Yeti, The View.

Vídeo com a música Bang Bang You’re Dead.

Enjoy o/

A few months ago I was listening to an NPR segment that focused on the music coming out of Britain.  The commentator felt it important to highlight a band called The Libertines. In NPR’s opinion The Libertines were one of the best bands in recent years to surface and perhaps, had made a significant contribution towards a second “British Invasion”.  “Poppy-cock!” I say, this band is truly dreadful to listen to and one has to ponder how they were able to get signed to a major label; tt truly is beyond me.  Sometimes I just shake my head in disbelief about the music that NPR reviews; and worse, what they feel important enough to bring to their listening audience’s attention. 

Most people who know me will agree that I am one of the most open-minded people when it comes to music.  I like metal, country, jazz, classical, rockabilly, punk, even easy listening (and the list goes on and on and on).

 However, I cannot bring myself (after multiple listenings both with and without scotch whiskey) to appreciate what these guys are offering musically.  From the first few songs I thought that NPR had been joking, wondering if this band was a spoof.  Perhaps The  Young Ones had decided to put out an album just for laughs sake.  Nope. This was a genuine album, by a band that actually thought they sounded good, and further more (adding insult to injury) so did a bunch of other people who had bought it.

The Libertines as a band are so poorly out of tune throughout the entire album.  Honestly it sounds as if the band got together at the last minute to play in their parents garage.  The first song  Can’t Stand Me Now is rememiscant of something The Clash would have put out (this album is produced by The Clash’s Mick Jones, so that explains much of the sound).  The Libertines clearly are trying too much to be The Clash, and perhaps that is there downfall.  The song is raw and  unrefined and I get this is the punk sound they are attempting to achieve.  Sadly, it’s not even done well to create something remotely entertaining.  In all honesty, and I have to laugh, the wood block or cowbell part of the song just reminds me of Will Farrell in the SNL band spoof.  To it’s credit Can’t Stand Me Now has a slight melodic rhythm for a portion of the song, but clearly it doesn’t save the listener from wanting to hit fast forward. 

The second song is Last Post on The Bugle, is also terrible.  The beginning is remiscent from some from either Morrissey, The Smiths, Big Audio Dynamite, or perhaps, The Clash, again (sigh).  The beginning of the song has the sound of either someone ripping paper or snorting coke, why?  It has no place in the song and is just random which again exemplifies the adolescent structure of their music.  Perhaps it the punk thing to do to just put in random distractions in a song to sound like you don’t care, right? The lyrics are not even in synch with any of the music and again, the listener is left wondering how these dudes ever got signed.

My ultimate favorite in this album is Don’t Be Shy.  It could quite possibly be the worst song ever written; and I’m not kidding, it’s truly awful.  Listeners who bought this album for this song (if there were any) clearly need to seek some medical attention and proves that there is “a sucker born every minute” if they bought this album for the “great music”. 

The first time I heard Don’t Be Shy I looked for the mallet to hit the gong, it would make every dog bark in your neighborhood.  Clearly this song was The Libertines attempt to really rock out and produce a song that jams, but it’s nothing but a humorous attempt at writing quality music and just falls so short of the mark.

Amazingly, this band was compared to the likes of The Hives, The Strokes, and other bands that had a raw garage like sound, yet made good music.  Perhaps it was simply that the album was produced by Mick Jones; if he put his seal of approval on the band they were good to go, I dunno.  What I do know is that the band has had terrible reputation for drug addiction.  One of the lead singers, Pete Doherty was both a crack and heroin addict which created more press for the band than their music.  But, any press is good press right?  I think that people may have found this facet of the band an intriguing part and thus purchasing the album. 

In sum, The Libertines were a bunch of kids that became successful in an impossible field, made millions, became reckless and addicted, and then broke up.  The only contribution I see this band making is proving that you can be absolutely terrible at music and someone, somewhere, will perhaps discover you and voila! 

The only good song on the album is Road to Ruin, but one song does not save an album.  If you want a punk bands to listen to you are better spending your money on bands like Rancid or The Used.

Please avoid this album at all costs.  I think this band was found to be cool and cutting edge because they actually were terrible and everyone knew it.  Sometimes liking bad music is a cool thing, I guess? Anyone with half a brain can tell that this band is not even remotely close to a conributing factor in the British sound at any level  They are simply just another garage band attempting to be a rebirth of The Clash sound. 

The offspring of the break up of The Libertines was called The Babyshambles, and a much more fitting name in my opinion.

The Libertines album gets a 0 out of 5.

Depois de uma das separações mais triste do mundo da música, o que era The Libertines…

virou Dirty Pretty Things

e também virou o Babyshambles

só que alguns meses atras eles fizeram o seguinte clipe juntos…

…e ai fica a pergunta… what now?

Another random collection of records new to the store today. Very heavy on hip-hop and BYO Records releases:

Awaken Demons – The Mirror (Colored)
Bazan, David – American Flags
Jon Cougar Concentration Camp – Melon
Jon Cougar Concentration Camp – ‘Til Niagara Falls
Jughead’s Revenge – 13 Kiddie Favorites
Jughead’s Revenge – Elimination
Jurassic 5 – Jurassic 5
Jurassic 5 – Jurassic 5 Bonus Tracks
Kill Your Idols – Funeral For A Feeling
Landmines – Landmines
Large Professor – The LP
Lawrence Arms, The – Ghost Stories
Lawrence Arms, The – A Guided Tour of Chicago
Leatherface – Dog Disco
Leatherface – Horsebox
Lemuria – The First Collection
Libertines, The – The Libertines
Locust, The – Plague Soundscapes
Madball – Hold It Down
Madlib – Shades of Blue
Madvillian – Madvilliany
Manchester Orchestra – Mean Everything To Nothing
Manifesto Jukebox – Remedy
Place To Bury Strangers – Exploding Head