360 records from the year 2000: 145 - 141

145. Shazam: Rev9

The best classic style (Move, Beatles, Raspberries) power pop album of the year? More than likely. This is inspired stuff, uncluttered, melodic, and with a sense of mischief – toss in a couple of bars of banjo here (‘Periscope’), a weird detour there (‘Take me’). To top it off, a full on assault of a cover on ‘Revolution 9’ (with some ‘Can you take me back’ along the way). You have to give it to them for trying, even though it’s not the best moment here. Of course lyrically it’s all about listening to music on the radio/on headphones, but that’s what power pop is supposed to be about, isn’t it?

At its best: On the airwaves, Wood and silver, Take me

144. Royal trux: Pound for pound

All through the ‘90s Royal Trux appeared on the rim of my horizon as the dark and dangerous Stones to Pavement’s Beatles. I was Pavement through and through so I never checked in to Hagerty and Herrema’s trip. I should have. This is their final stand. I can’t imagine what they must’ve sounded like at full speed, cause this is highly charged stuff as it is, but apparently offers a more streamlined and ‘calmed down’ version of the band.
It’s a trip deep into the belly of rock’n’roll, where you can drive for days through the desert looking for a drop of water, but there’s narcotics in every cactus. The road twists and turns, and Hagerty’s guitar slithers through these grooves like a snake in the grass. He’s got a great tone (oh, you know what I mean), all warm and fuzzy and ready to slit your neck. His riffs never quite go the way you expect them to, there may be a little Spanish blood in him. Jennifer Herrema sounds really fucked up – in the best possible way. You never know if everyone will live to see the end of the record.

At its best: Call out the lions, Fire hill, Platinum tips

143. Big house: Woodstock nation

The album cover tells you these guys weren’t going to make it big. Further, they made the mistake of releasing a polished Los Lobos-as-a-bar-band record when the tide of Americana was against them, a record filled with expertly performed pop-roots songs, rather than lo-fi indiecountry sketches. Yes, it’s pretty slick, but I dig it. It’s not BCB’s favourite genre, I’m aware. I guess they disappeared afterwards, it’s a shame.

At its best: Geronimo’s moon, River town, Lonely shade of blue, Woodstock nation

142. Saint Etienne: Sound of water

Let’s face it, if Nick Cave had been reading movie magazines instead of the Bible, he’d have been in Saint Etienne. For those doubting there’s something pretentious about the ‘Tienne, look no further than the twaddle Simon Reynolds writes as liner notes for this record: ‘soft soundclash of electronica and acoustica’(acoustica!), ‘it’s beyond headphone-friendly: wearing a pair is virtually de rigeur’ (de rigeur!), ‘a cornucopia of pop equations, Dionne Warwick + [Mouse on Mars x Angelo Badalamenti] = Downey CA’, ‘lovely is the new edge’… You almost don’t want to listen to it. The set-up is too perfect. The inlay is a picture of three people’s hip trousers and shoes!
And yet, it is a lovely record. If they make you peel away the layers of artifice, it’s worth it for small soft-rock gems scattered around this record. It’s a little mannered, it’s a little stiff, but it’s ok.

At its best: Late morning, Don’t back down, Just a little overcome

141. Lenny Kravitz: Greatest hits (1989-2000)

I like Lenny. It surprised me too, but there you go.
In the revival rock best of-sweepstakes, Lenny beats the Black Crowes hands down.
I even filled my Amazon shopping basket with 0.02 $ copies of his albums.
I took ‘em out a couple of days later. That was going a little overboard.

At its best: Are you gonna go my way, Again, It ain’t over till it’s over, Can’t get you off my mind, Stand by my woman, Always on the run, Let love rule