1. OUTKAST, Stankonia (LaFace/Arista) The glorious sound of three musics colliding. Rock. Hip-hop. Dance. It's a message of harmony, or is it? Maybe it's just


That's a wrap

Seattle Weekly's top 20 albums of 2000.

1. OUTKAST, Stankonia (LaFace/Arista) The glorious sound of three musics colliding. Rock. Hip-hop. Dance. It's a message of harmony, or is it? Maybe it's just Big Boi and Andre 3000 smoking out and haphazardly stumbling on a nearly revolutionary sound. Maybe they just harnessed the talent exhibited on their previous records. Whatever the origins, fidgety, unforgettable songs like "B.O.B." and "Ms. Jackson" pulsated like nothing else on the map. The year's only true revelation. (Richard A. Martin)

2. MODEST MOUSE, The Moon and Antarctica (Sony) Like sadness toting a tommy gun, there are some things you just can't outrun, and Isaac Brock seems to know that better than any of us. Art imitates life, and this time Brock's songs are geographically influenced and hauntingly ambivalent. Major label dollars provided the bucks for the album's expansive production, but the overall sound is, happily, same as it ever was. (Laura Learmonth)

3. YO LA TENGO, . . . And Nothing Turned Itself Inside-Out (Matador) Their "marriage album," sure, but what matters is that Yo La Tengo sound so familiar, so comfortable. Georgia and Ira cover for each other like a slipcover covers a chair, summoning the warmth of a sweater in autumn. Figuratively and literally, "You Can Have It All" sounds like a wish fulfilled. (Michaelangelo Matos)

4. GRANDADDY, The Sophtware Slump (V2) Spaced-out sounds for a world that has yet to be discovered, retro- futuristic songs for a people that don't yet exist. Grandaddy know the things we only dream of, but they repeat them, tease them, and subvert them until they become nearly nonsensical. An album in the true sense of the word, when given full breathing room or played live, it seems more like a dream. (L.L.)

5. QUASIMOTO, The Unseen (Stones Throw) Lootpack member Madlib tweaks his vocals into a genderless nether region that interacts with his natural voice like a dialogue between the rational mind and the slippery subconscious. Matched with a sample smorgasbord that imagines Sign O' the Times as produced by Prince Paul, Madlib conjures the most seductive daydream nation hip-hop has heard since 3 Feet High & Rising. (M.M.)

6. RYAN ADAMS, Heartbreaker (Bloodshot) We loved him in Whiskeytown, but on his own, he's somehow even more amazing. Adams shares a birth date with the man that started it all, Gram Parsons, and the cracked vocals, wonderfully strummed guitar lines, and longed-for lyrics on this collection of alt-country ballads and rockin' stompers assert that something truly cosmic occurs whenever someone enters the universe on November 5. (L.L.)

7. BETTIE SERVEERT, Private Suit (Palomine) Simultaneously embracing and transcending DIY obscurity, this back-from-the-dead Dutch band have never sounded sweeter or more tart. Just because frontwoman Carol Van Dyk isn't going to take your shit anymore doesn't mean she doesn't love you. And vice versa. (M.M.)

8. THE GO-BETWEENS, The Friends of Rachel Worth (Jet Set) Reunited after 10 years and it sounds so damn good. These two Australian popsters are punked up by Sam Coomes and Sleater-Kinney on what's a bit of a departure from previous Go-Between records but an absolute gem nonetheless. The two-songwriter schematic means the album's jangly, bouncing energy never relents. (L.L.)

9. DE LA SOUL, Art Official Intelligence: Mosaic Thump (Tommy Boy) Rare are the hip-hop innovators who not only persevere but forge ahead. De La Soul sprinkle in a pinch of irreverence, too. These Long Islanders bob up and down alongside the zeitgeist, teasing the demographic-friendly trends, slyly twisting R&B one moment, grooving into a booty-shaking hip-hop hit ("Oooh," with Redman on the mic) the next. (R.A.M.)

10. GREEN VELVET, Green Velvet (F-111/ Warner Bros.) A concept album about the pitfalls of professional hedonism, compiled from five years' worth of underground house singles. From a guided tour of a haunted house (I mean, dance club) in "Flash" to Green Velvet's abduction by aliens while doing the dishes, it's funnier than hell and sounds like it was made there. (M.M.)

11. COLDPLAY, Parachutes (Nettwerk) The Brits exported a heaping handful of notable discs to the United States in 2000 (and didn't bother with others, such as the fantastic Bluetones album Science and Nature). While fans and press drooled and debated over Travis and Radiohead, Coldplay's Parachutes offered the best of both their compatriots' worlds: likable pop songs with constructions complex enough to challenge listeners. It's a sinuous, at times moving collection, with vocals that recall Jeff Buckley's and just enough bite on the guitars. (They're excused for selling their single, "Yellow," to ABC as an ad jingle for TV's fall season.) (R.A.M.)

12. BRIGHT EYES, Fevers and Mirrors (Saddle Creek) Somewhere inside Conor Oberst's doe-eyed head, a marching band, two million sad soldiers strong, deploys daily, setting off to attack the far reaches of his imagination. It's obvious that the raw, metaphor-laced songs have a life of their very own. What scares me is that we've seen this kind of talent before, and it often burns out before it fades away. (L.L.)

13. JAMES CARTER, Chasin' the Gypsy (Atlantic) In the year Ken Burns decided that a century of jazz culminated in the Lincoln Center Orchestra's covering "Take the 'A' Train," quantum saxophonist James Carter's tribute to Django Reinhardt strikes a righteous chord. Living history, my ass—this nimble, gorgeous music takes liberties, breathes fire, and makes mere revivalism sound like a crime against history. (M.M.)

14. D'ANGELO, Voodoo (Virgin) It's been a while since we had a soul singer as effortlessly sexy as D'Angelo, and this guy's tongue slides across hip-hop, R&B, and jazz like an ice cube on a hard, hot body. He's also becoming a formidable songwriter; this, his second album, brings the funk in all its forms, from the bombastic and booty-shaking to the sumptuous and bed-quaking. (R.A.M.)

15. PJ HARVEY, Stories from the City, Stories from the Sea (Island) In which the mysteriously fetching UK darling takes up in New York City and marvels at the big buildings, dark romance, and the frenetic pace of the taxi cabs and crowded sidewalks. Actually, PJ seems to be reveling in this fascinating new environment, and it's catalyzed her to write fascinating new songs. The disc starts off rocking like vintage Heart, slows in the middle to a simmer, then giddies up and rides off into the shadowy city streets. Oh, yeah, Thom Yorke's there, too, in stunning effect on "This Mess We're In." (R.A.M.)

16. BADLY DRAWN BOY, The Hour of Bewilderbeast (Beggars Banquet) You'd think the world would have had enough of silly love songs, but the United Kingdom's Mercury Prize-winning Damon Gaugh and his US debut suggest otherwise. Eighteen songs filled with whimsy, Bewilderbeast has been called the indie-rock Pet Sounds. But Gaugh's pure stream of emotions and unfettered style demand that he be inspected as an extraordinary, singular talent. (L.L.)

17. BEBEL GILBERTO, Tanto Tempo (Six Degrees) Certainly the year's most seductive album, from a woman with the history of Brazilian pop music coursing through her blood. With a voice that could melt solid chocolate, Bebel Gilberto drifts between Portuguese and English, slyly weaving jazzy textures in the backdrop of her bubbling originals and classics like "So Nice (Summer Samba)." Put this record on at a party and watch the mood grow relaxed, then become more sensual, maybe even sexual. (R.A.M.)

18. LIFTER PULLER, Fiestas + Fiascos (Frenchkiss/Self-Starter Foundation) Crunching like a bowl of Total driven over by a runaway truck, this Minneapolis foursome channeled early Springsteen, stuffed enough substance abuse to make Iggy Pop blanch into a half-hour CD, and capped it all by suggesting, "It's too late for liquor/But we can get some 3.2." Then, for their final encore, they broke up. (M.M.)

19. SLEATER-KINNEY, All Hands on the Bad One (Kill Rock Stars) I've always been one to root for the home team, but this album is wonderful on its merits. (It's too forward-moving to chalk up its inclusion on this list to my being a girl from the northwest pocket of America.) Corin's vocals, augmented by Carrie and Janet's, remain undeniably affecting, and the music continues to hammer and hum like a radiator in a railroad flat. (L.L.)

20. LUOMO, Vocalcity (Forcetracks) Finnish producer Vladislav Delay presents a dream version of house music: Flinty, velvet-lined grooves that unfold one detail at a time, random lyrics weaving in and out of the mix until they're as malleable emotionally as they are sonically. As playful as Silly Putty. As serious as your life. (M.M.)

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