I couldn't listen to everything. I tried, but came up way short. It's my goal, as ludicrous as it sounds, to hear every last note of every last record made in a single year. Yeah, maybe that sounds greedy, stupid, masochistic even. And, honestly, it'd get pretty tedious burrowing through all the bad rap and metal stuff that comes through in the course of 12 months. But you never know, right? The one disc you decide to scrap before tearing off the wrapper could hold the groove you've looked for all year, the vibe you've searched for forever, the lyric that'll never leave your head. After all, isn't that what we're asking of music -- to give us a moment we'll all remember?

Here are the discs that came close to giving me moments this year. And be forewarned: there are no mentions of the Vines, Clinic, Andrew W.K., or the Yeah Yeah Yeahs, largely because as soon as everyone started talking about them, I tuned 'em out. There is, however, mention of one buzz band that proved too irresistible to avoid.

The Hives, Veni Vedi Vicious (Warner Bros.). In the inimitable spirit of the Fleshtones and all the very best four-chord riff bands, the Hives were perhaps the only widely acclaimed band this year to truly fit into the garage band category. And their attitude -- they only consented to do one interview a day during their tour, and turned many big press outlets down altogether -- was genuinely refreshing.

Doves, The Last Broadcast (Capitol). Amid the barrage of post-grunge hard rock bands, it's edifying to hear the freshness with which Doves approach the idiom. Instead of power chords, there's an aggressive lushness, with layered guitars, keys, and percussion that fills out the sound. This one's for those who like to investigate their music rather than just hear it.

Rocket From the Crypt, Hot Charity / Cut Carefully and Play Loud (Swami). Two of Rocket From the Crypt's most elusive and previously vinyl-only releases together for the first time on CD -- 1995's Hot Charity LP (out of print) and the 1999 six-song 12-inch Cut Carefully and Play Loud. Truly ripping, soul-scorching rock from beginning to end. A reason to believe.

Will Kimbrough, Home Away (Waxy Silver). The former leader of the Bushmen, Will Kimbrough is one of those pop songwriters that never disappoints. Two years ago his disc This reached my Best Of list and now Home Away, a near-perfect amalgam from this rock omnivore, finds the same rarefied space. Highly recommended.

Sleater-Kinney, One Beat (Kill Rock Stars). As much as I try to avoid S-K, they keep recording music that makes it impossible. In fact, I'd venture to say they're one of the few bands that keeps getting better. Here, they climb still another creative peak.

The Flaming Lips, Yoshimi Battles the Pink Robots (Warner Bros.). And here's another band that keeps getting better. For a moment in the early to mid-'90s, they lost me. But since then, Wayne and Stephen have found a bizarre comfort zone that is fast, and incredibly, becoming commercially viable as well as in vogue, more than 15 years after forming.

Tori Amos, Scarlet's Walk (Epic). I listened to this one way more than I expected to, mainly because I had to prepare for an interview with the orange one. But after a few spins, the thickly rendered poetry and fabulous production really work a magic. Yeah, she's eccentric, but on this record, a concept disc, she's found fertile turf on which to rest her vivid imagination.

Coldplay, A Rush of Blood to the Head (Capitol). Here's another one I have trouble denying. Coldplay's approach to pop is less than conventional and their ability to write less than standard pop songs is pretty remarkable. With a little personality and more exposure, they may be ready to give Radiohead a run for their money.

The Flaming Sideburns, Save Rock and Roll (Jetset). If you like the Hives at all, why not go a bit deeper and check out the Flaming Sideburns, an emphatically more genuine breed of garage rock band that draws more from the early '70s Stones/Faces sound than the three-chord power grunts of younger bands.

Rod Stewart, Reason to Believe: The Complete Mercury Recordings (Mercury). Barring his short-lived work with Jeff Beck, this three-disc set is the best of Rod period, covering his first five solo albums (remastered, plus bonus tracks) from 1969 to 1974. Very nearly the essence of rock and roll, with incredible guitar work from Ronnie Wood.

Ronnie Wood, Not For Beginners (SPV). And speaking of Ronnie Wood, this new solo album, released way under the radar on a German indie, is by far the best project helmed by a Rolling Stone in a ridiculously long time. A must for Stones fans.

Various Artists, This Is Where I Belong: The Songs of Ray Davies and the Kinks (Ryko). A tribute? Usually they're the first to go. But this one has Fountains of Wayne, Yo La Tengo, Ron Sexsmith, Matthew Sweet, Queens of the Stone Age, Lambchop, and others, all working up great songs. How can it possibly miss?

Chuck Prophet, No Other Love (New West). Prophet could strum his guitar without an amp in a crowded mall and it would still sound amazing. And while his vocals don't keep pace with his eloquent instrument, he does write music that more than transcends any weakness.

Howie Day, Australia (Epic). This is a reissue of the self-assured singer-songwriter's debut from 2000. The Maine boy's sound has a meaty grit and his explorations are far from conventional, drawing comparisons to quality 'smiths like Ron Sexsmith, Martin Sexton, and Joseph Arthur.

Superjoint Ritual, Use Once and Destroy (Sanctuary). Music to lose your mind to, and your hearing for that matter. Sheer, unrelenting decibel force that'll plaster you to the back wall of the club before you get a chance to set your feet and fold your arms. Led by Pantera's death-wish frontman Phil Anselmo, which should come as no surprise.  

Hobex, U Ready, Man (Tone-Cool). This one is a surprise. I couldn't take it out of the player, and kept reaching for it because the groove was hypnotic. It's got a lazy R&B, horn, funk vibe kinda like how the North Mississippi All-Stars started out, but have since left behind. Blue-eyed soul for the jam-band set.

Antibalas Afrobeat Orchestra, Talkatif (Ninja Tune). Awesome Afro-dance stuff with a rich juju vibe and acid jazz overtones. It's the sound of a summit between Medeski Martin + Wood and King Sunny Adé.

Slobberbone, Slippage (New West). I don't know how long it'll be before Slobberbone builds up the same cache already bestowed on Uncle Tupelo, 'cuz they're already a better rock band than Farrar and Tweedy ever were, with the balls of the Replacements to boot.

Supersuckers / Electric Frankenstein, Split CD (The Music Cartel). OK, so I'm running out of space. Do you really need a description of this? I mean, do you? Rock and friggin' roll, boss!

The Nitty Gritty Dirt Band, Will the Circle Be Unbroken Vol. III (Capitol). On the heels of the 30th anniversary reissue of the original Circle comes Volume III. And while its attempt to walk in its predecessor's massive shoes falls short, it does have a folksy grace all its own, and in its own way has become one of the best albums out of Nashville this year.

Honorable Mention
The Blind Boys of Alabama, Higher Ground (RealWorld).
The Walkabouts, Ended Up a Stranger (Innerstate).
Kevin Tihista's Red Terror, Judo (Parasol).
Super Furry Animals, Rings Around the World (Beggars/XL).
Pitchshifter, PSI (Sanctuary).
Various Artists, Ska All Mighty (Heartbeat).
Specials, Two Tone Records (Chrysalis/Capitol).
Big Sandy and the Fly-Rite Trio, On the Go (Jeems).
The Silos, Cuba (DualTone).

E-mail me with your lists, or local music news at big.daddy1@cox.net.

Issue Date: January 3 - 9, 2003