Undoubtably 2004's Album Of The Year
355836
In a year that saw more than it's fair share of good metal and hardcore releases, Converge's "You Fail Me" stood above not only those in its respected style of music, but in all musical genres as well. For a band following their epic masterpiece, "Jane Doe", you'd never know that they were coming off such an accomplishment, because "You Fail Me" is every bit as impressive as its predecessor. In fact on some levels "You Fail Me" might even eclipse the previously mentioned album. What's more important is Converge's consistency and how they continue to put out album after album of extraordinary material, yet are very underappreciated by the mass public and music listeners alike. If you haven't been warned by now, Converge is a very acquired taste, but trust me once you acquire it, you'll understand why everyone sends such high praises to these guys. If you were ever a Converge fan, "You Fail Me" is a dream come true.

I don't really know what to say about these four in terms of musical ability that hasn't been said before. Jacob Bannon's voice is one of the most distinctive and destructive in the hardcore and metal worlds, and has continued to only get better with every album that Converge has put out. He has toned down the vocal distortions and effects a bit, but you'd never be able to tell. Kurt Ballou continues to be one of the most innovative guitar players in heavy music, with his frantic, mathematical precisions on "Drop Out" and "Hope Street", but also shows how intricate he can become on grooves like the album's amazing title track. Nate keeps up the intense low end of the band, where few others would even be able to withstand Converge's oblivion. Oh and my God the drums. Listening to Ben Keller behind the kit is every fan of extreme music's dream, because he leaves no part of it untouched. Every time I hear a song from this band, I continue to be amazed at how he can constantly create some of the most complex and astonishing drum beats I've ever heard.

Even if I wanted to tell you my favorite tracks on this release I couldn't, because I would end up listing every single one of them. They really are that good, and there is no weak link in the album, anywhere. I especially like the interesting vocal style Jacob experiments with on the second track "Last Light", which sounds something like an old school punk/hardcore style. "Black Cloud" and "Heartless" are vintage Converge mayhem, and "You Fail Me" shows how the band's experimental noise leanings have furthered since "When Forever Comes Crashing". The biggest surprise though has got to be "In Her Shadow", the haunting, acoustic/experimental piece which is something totally different from what Converge is known for doing. The vocals are barely distinguishable, and for the first 3 minutes of the song, you are very much subdued by Kurt's eerie, atmospheric guitar playing, until Ben's drums begin to slowly creep in, in the background, and add an even further distinctive creepiness to the tune. "Hanging Moon" bows out the album with the same sort of vocal experimentation that Jacob tried on the first track, and it works fairly well here also. The record flows very nicely, just barely hitting the 35 minute mark.

If you don't know who Converge is by now, then I don't know where you've been for the last five years. If you're new to them, I'd recommend starting here or with their masterpiece "Jane Doe", then working your way backwards. Every album they've done is excellent, but they've gotten increasingly better with each record they've put out. Chances are if you're reading this though, you probably already have some kind of semi-interest in the band, so that should be no problem. To you I would say pick up this album immediately, because it is undoubtably the finest release that 2004 saw, and that was no small feat. In a year which saw fine efforts from The Dillinger Escape Plan, Killswitch Engage, Zao and many others, "You Fail Me", rightfully took it's place at the top of the pack. The definition of beautifully destructive music.
4091002
This album was easily one of the most surprising and stunning debuts of 2008 in the UK, and will surely act as the same here in the States for 2009. But I must warn you, if you're not a fan of thick Scottish accents, it may take you a few spins to warm up to this band. With that aside, Glasvegas delivers an album full of emotion, spirit, and meaningful lyrics... a rarity among today's rock scene whether you wish to admit it or not.

One of the most refreshing aspects of this album is that it is made by musicians who know their craft and use real instruments. As ridiculous as that may sound, today's music scene seems more and more crowded with bands who have adopted the laptop as a musical instrument, flooding the airwaves with the newest crackles and synths courtesy of a make-shift bedroom studio. Glasvegas takes it back to basics and delivers what has been eluding modern music... heartfelt tales of average people told alongside well thought out and skillfully composed music.

The album kicks off with what many listeners deemed an easy pick for song of the year in 2008 among the UK, "Flowers and Football Tops - a song about a mother left without a son due to violence. The song clocks in at nearly 7 minutes, but not a second is wasted. The track is immense, giving off a sense of space with the help of some of the best placed reverb I've heard in a while. The track is topped by the raw emotion within the ending, where the refrain of "You Are My Sunshine" lingers on a chord that is sure to send chills down your spine. Other notable tracks include "Geraldine," "Daddy's Gone," and "Go Square Go." Geraldine and Daddy's Gone showcase the soulful aspects of Allen's voice (lead singer). The tracks also show his knack for recognizing social aspects in his songwriting, rather than penning songs that are self-consumed and repetitive in nature. Each track is cleverly put together and exhibits a sense of restraint that will have you begging for new material after the album has run through its 42 minutes.

There has been much hype surrounding Glasvegas worldwide, and often that's a sure sign to a brief 15 minutes in the limelight. But this band is an exception. Upon listening to this album, you will find yourself thoroughly consumed in its near perfect orchestration and commentary on human nature. I guarantee that this will be an album that you'll find yourself listening to 1... 5... 10 years down the road. It's an album of timeless rock and roll without the filler... an album you will find yourself listening to track by track without feeling the need to skip or fast-forward. It's rare that you can say such things about a debut album, but then again, it's rare that a band like Glasvegas comes along and delivers on such high expectations.

Simply put, buy this album. It will be one of the best purchases you make for your music collection this year. The album follows through on all the hype and curiosity from critics and listeners worldwide. This will definitely be an album to remember for 2009. You and your headphones will be happy.
2522954
I'm embarrassed and upset with myself I bought this album so late--almost a year after it was released. When I first listened to it, I couldn't believe it is SO good. It was an incredible experience and I haven't been able to put it down since.

This album--this album--is Paul's best since Band On The Run and one of the best of the decade. Sonically elegant, musically subtle and intelligent, with adventurous vocals and instrumentation, it's a perfect geometry of forms and substance. Daring, delicate, trippy, rocky, reflective, progressive, hypnotic, addictive, with a taste of psychadelia. Both for teenage kids and mature generations. You'll LOVE it. Just listen to it.
860502
This is easily my favorite album of the year.  I cant remember the last time I was able to listen to an album from start to finish and love every song.  If you get a chance, also see these guys live.
2902479
The album responsible for shoving country into the mainstream with its irresistible hybrid sound that veered more towards rock is Shania Twain's Come On Over.  If any album was cheated of the Grammy for Album of the Year, it was this one.
Sixteen songs is a hefty load for this album.  Trouble is, all the songs are either infectious rock-pop and ballads, I want to review them all, but will content myself with the highlight of highlights.
Shania lets herself go with the rock-oriented opening track, celebrating the freedom to enjoy herself in "Man! I Feel Like A Woman."  Note that she says, woman as opposed to lady, and the lines "I ain't gonna act politically correct" hints at the fun she wants.
The pace picks up with "I'm Holdin' On To Love (To Save My Life)" made noticeable when Shania sings with only the fast-paced drums playing.
"Love Gets Me Everytime" does have a trace of country with that fiddle and guitar and when she says "I gol' darn gone and done it."  It's basically on a woman who was enjoying her single life until she discovered that romantic side of her.
"Don't Be Stupid" is my favourite song here with that fiddle and that clapping drum that accompanies it after the chorus.  She exhorts her loved one not to start suspecting her when she does the slightest thing.  How bad is it?  "You even get suspicious when I paint my nails/It's definitely distracting/The way you dramatize every little small detail."
The ballad duet with Bryan White, "From This Moment On" is a song on love and fidelity that is appropriate for playing at a wedding.  A song that could be a sequel to this is the other hit ballad, "You're Still The One".  And speaking of ballads, I prefer "You've Got A Way" to the former.
"When" is a reflective mid-paced song about wishful thinking laced with a touch of cynicism.  So when will the protagonist stop living in a dream or make up?  "When money grows on trees/People live in peace/Everyone agrees/When happiness is free/Love can guarantee/You'll come back to me--that's when"  In other words, never.  My second favourite song.
The countrified Def Leppard tune that's "Honey I'm Home" portrays one stressed out working woman who's really had a bad day that rivals even PMS and feels much better once she comes home.  If the backing male vocals going "Hey! Hey!" reminds one of Def Leppard, remember, that's Mutt Lange.
"That Don't Impress Me Much" puts down people who have the looks but not the touch.  Best disdainful line:  "OK, so you're think you're Elvis or something.  Whatever."  And the rollicking "Rock This Country" could bring life to any dull party.
The sobering "Black Eyes, Blue Tears" is about the need to get out of an abusive relationship and to "find your self-esteem and be free to forever dream."  Key line:  "I'd rather die standing than live on my knees begging please--no more."  The mid-paced "I Won't Leave You Lonely" has a rhythm section recalling the Police's "Every Breath You Take."
All the songs and backing vocals were done by Shania and husband the Mutt, who cut his teeth producing Def Leppard's Pyromania and Hysteria and Bryan Adams' Waking Up The Neighbours.  The production's really smooth and palatable, all the songs could've been singles, so come on over and have a listen.
910914
This album is so diverse it's innovative.  I won't lie, some of the songs are recycled music (rewriten, updated or merely inspired by old songs) and it's hot.  From the stamping chick anthem to "Hollaback Girl" to the Prince like "Long Way to Go".

This album is an essential buy of 2004 (I just missed that fact until mid 2005).  I would highly recommend this album to any music fiend thats looking for a new spin on the female pop scene, especially somebody who's looking for an album that continues to serve up a new sound, song after song.

This is definetly the most rewarding buy I've made in a long time as all too often I end up buying an album that's just ok because it has a couple good songs and a bunch of filler.  There wasn't one song that made me wonder if it was filler, every track is a well produced potential radio hit.
1948071
Best album of the year?  Amazing piece of work as a whole.  Can listen to over and over and over and over.
32590
This is by far the best album of the year! I have listened to it everyday since receiving it and am in awe of the talent! I ordered another for a Father's Day gift and my dad loves it to. So glad to get on Amazon at a reasonable price.
4819632
In a year of processed pop and dumbed-down r&b, the fourth and best album from Meshell Ndegeocello is a breath of fresh, revitalizing air.  Here is an album that pulls no punches, makes no compromises, and is lyrically blunt as anything you'll listen to this year.  A potent fuse of funk, soul, and jazz, "Cookie: The Anthropological Mixtape" has our heroine breaking down the myths of fame, religion, and sexuality on these tracks which sample spoken words by Gil Scott Heron, Dick Gregory, and Angela Davis.  Standouts include the potent "Dead Nigga Blvd (Pt 1)" and the sensual slow jam "Trust."  The disc also has a slammin remix of "Pocketbook" which has guest appearances by Tweet and Redman.  This CD stands a very good chance of appearing on many people's Top Ten Lists of 2002, and if there are no better records after it, "Cookie: The Anthropological Mixtape" will be my album of the year.  It's self-reflective without being self-interested.  It's insightful without being preachy.  And it's hip without ever cowering to popular trends.  A marvelous, towering achievement.
474109
VERY ENJOYABLE. ONE OF THE BETTER OF THE YEAR. DETROIT DELI IS GETTIN MAD ROTATION IN THE CD PLAYER, AT LEAST UNTIL THE NEW ROOTS ALBUM DROPS.  ELZHI IS THE BEST NEW CAT IN THE GAME. BELIEVE THAT.
THETZA OUT.
2417451
In a time when so-called musicians as the Backstreet Boys and NSync rule  the music world (for whatever reason, I have no idea?), it's great to see  an album that stands true to originality.  NIN album "The  Fragile" is quite possibly the best album of the year, if not the  decade.  Each and every song flows in and out of one another, creating  intense and often disturbing moods.  Trent Reznor's lyrics are unmatched  and blend perfectly with the intrumentation.  No wonder it took him five  years to complete it, he wanted it to be perfect, and I feel he succeeded.  I think that every person can relate to atleast one or two of the songs on  this double album, if you don't think so you're just lying to yourself.  This will probably go down as one of the best albums that nobody has heard  about or one of the best albums to not go multi-platinum--all because of  that Britany chick and her boyfriends.  If you know someone who owns this  album, borrow it from them ASAP.  Even if you are not a NIN fan, you'll  appreciate a taste of something different.
3990318
This is by far the best album of the year. Grimes brings energy, passion, and creativity to every song.
356130
Christina has given birth to perhaps the best album of the year which incidently brings back the sounds of the 30's, 40's, and 50's. What can I say to emphasize this point? Well first and foremost she has an amazing voice, after "Reflection" it was quite evident that inside that mousy ex-mousekteer was a very strong singer. She further proved this with "Stripped," which I have to say would be my favorite album up until she released this one. Second, not one of the young pop tarts crowding the billboard chart could pull of an album such as this, that reminisces on the music that built the music we love today. And thirdly, every track delivers beautiful lyrics and amazing sounds. So my suggestion, pick it up as soon as possible, in the two weeks since owning it I have listened, oh it must be millions of times now.
551777
One of the most hyped albums of 2006, the new Dixie Chicks disc comes with a lot of baggage stemming from Natalie Maines' well-documented comments in London several years ago.  Getting past the politicking and posturing being exhibited by both sides on this review listing, while this album is not a 5-star classic, it is certainly one of the best albums of the year so far.  Rick Rubin's production adds just enough of an edge to the Chicks' sound to make this the most compelling country/rock album in a while.  The strong songwriting help from the likes of the Jayhawks' Gary Louris, Semisonic's Dan Wilson, and 4 Non Blondes' Linda Perry gives this collection more than its fair share of great hooks ("Silent House" and "Baby Hold On" in particular), even if it is sometimes a little too obvious where the songs came from ("Voice Inside My Head" sounds like a leftover from a Semisonic record).

I've been reading a number of reviews here (as well as the less-than-worthwhile comments from people who haven't even listened to the record), and it is unfortunate that the controversy surrounding the group is preventing people from objectively listening to the songs themselves, without preconceptions or prejudice.  "Taking The Long Way" is a very good album which puts the Chicks squarely in the realm of middle-period Eagles, when they were in the process of moving beyond their straightforward country sound into the more rock-oriented sound of their late 70s records.  Not surprisingly, there's also more than a passing similarity of this record to Tom Petty's "Wildflowers", which was also produced by Rubin.

I'm hoping that the hype surrounding the band will die down a little bit, and people will throw the labels away (is it country? is it rock? who cares?) and just take the time to enjoy this record more...bands like the Dixie Chicks certainly don't come along every day.
4974212
I believe this to be the best album of the year.  It was not nearly my favorite when I first bought it, but after giving it chances, it is.  I am always open to new music, and Pearl Jam is always there giving it to me.  I  DO NOT want another Ten or V.S.  The new CD shows a gracefulness about it,  that only age can create.  Among many other famous tracks, everyone on  the new album is good.  Binaural includes great guitar and bass.  They have  background vocals, a new fairly element with Pearl Jam-- and the only songs  that lack a bit are the last three,  Sleight of Hand, Soon Forget, and  Parting Ways.  Still a good ride and a new drummer.  Good job Matt!
4005373
Ne-Yo (!!) has come quite far since his scintillating debut little more than a year ago. After penning "Irreplaceable" for Beyonce (not to mention killer tracks for Paula DeAnda, Rihanna, and Musiq, among other such heavyweights), he swiftly returned to working for himself with Because of You. Fifteen months between albums is quite a sprint, though the exercise saw labelmate Rihanna arrive to a fitter form in even less time. There's no question that this album would be much improved had he waited another year to release it. However, that "Because of You" is as good as it is now proves Ne-Yo's mettle, forte, and potential.

Though his nods to upper-echelon artists meld furiously well with his heightened skills, Ne-Yo can't escape a few bum notes. "Make It Work," for instance, finds Mr. Smith imploring his lady to believe in their relationship, a soggy subject in comparison to "Can We Chill" or "Sex With My Ex." The former adds a refreshing gospel current to the contrary situation of a guy in a club who invites a girl to "get to know me on the physical side...baby tonight." "Sex" stands out as one of his best-ever tracks. It's a chilling, exciting, rock-bent narrative on a taboo relation, and a sweet guitar solo is fronted by what is his strongest voice on the album; a "Purple Rain" Prince would approvingly nod.
First single "Because of You," too, just knocks you out. Here (actually, EVERYWHERE on the album) are featured among the most lilting harmonies I've heard in recent memory. The nods to Michael Jackson here do nothing but align marvelously to his fluid sound, with the syncopated guitar strums and the eighth-beat claps. Exec producer Jay-Z shows his wisdom by hastily jumping out of minimalist "Crazy," to let his protg conjure images of greats Stevie Wonder and Luther Vandross. A glorified tune about a crush, teenagers all over will grapple onto this as they listen along to Ne-Yo's taste for choice accents (the double snap, accenting harp chords and discordant plucks, and sultry whispers). Another superlative is "Say It"--claustrophobic and tingling and (yes) angelic, the track is layered with a complete orgasmic spin. Ne-Yo proves he's "rather fluent in the language (his partner's body) speaks" in a way that should make R. Kelly, Usher, JT, and the like watch their backs--vigilantly.

Missteps include "Angel," who well utilizes a nice violin selection, outstanding vocal collection, and charms of MJ's "Human Nature." But all the strings in the world couldn't neutralize the corniness that comes with Ne-Yo "in love with an angel (who) don't belong to me." "Go On Girl" reveals yet another clever lyric; too bad it's a flight of stairs below "Irreplaceable," the probable Song of the Year that he (unfortunately?) wrote for and gave away to Ms. Knowles. Ne-Yo's knack for harmony somewhat redeems the otherwise blas duet "Leaving Tonight," where Jennifer Hudson's formidable voice shines yet shadows her partner's less than equivalent vocal capacity.

What's thrilling about "Because of You," though, is that it shows how far Ne-Yo's vaulted in such little time. His lucid, meaningful writing, profound vocal and instrumental arrangements, and his respect for amazing music and the musicians behind it, hint at Ne-Yo's likelihood to, one (not too distant) day, make a U2-styled leap and raise the standards of what we know as "good" music.

Tracks to Get: "Because of You," "Crazy," "Can We Chill," "Sex With My Ex," "Say It"
82541
As the last album in a striking creative streak, it's inevitably for the Slip to get some flak.  The albums preceding it were much longer and relied more upon lyrical narrative and complex musical structure.  Year Zero told a story much like the Downward Spiral Had, With Teeth attempted to be usual NIN fare, while Ghosts was in a league of its own.  All in all, With Teeth, Year Zero, and Ghosts represented almost FIVE hours of music total, all released in the span of a couple years.  So, it's no wonder that the Slip may seem paltry in comparison- it's stripped-down garage rock sound certainly doesn't help either.

However, after multiple listens, the Slip has started to sound superior to Year Zero and With Teeth for me (Ghosts isn't even worth comparing, it's an entirely different animal), and is even becoming one of my favorite NIN albums.  Reznor tries new things in the Slip, and at the same time it harkens back to Broken-era NIN, if only for its lack of restraint.  From the opening tracks thru Lights in the Sky, the album is almost entirely straight-up rock and roll dissonance.  The first track "999,999" serves as a tense lead up to
"1,000,000" which charges forwards with aggressive, fast-paced electronics accompanied by live drums (either that or live-sounding drum samples).  Reznor's voice even sounds upbeat in an Iggy Pop sort of way, which contrasts nicely with his usual red-hot lyrical angst.  These "rock" tracks may not have the complexity or depth NIN has displayed in the past, but it's undeniable that they are well-written, catchy, and energetic.  The album's second phase starts with "Lights in the Sky," one of the most beautiful piano pieces the man has ever written.  "Corona Radiata" and "The Four of us are Dying" are both adventurous ambient pieces that lack the emotional heaviness that previous NIN instrumentals have been caked in.  They fit well with the rest of the album despite their stylistic differences, largely because they sound more exotic than moody.  Finally, the album caps off with one final rocker, "Demon Seed."

The Slip is uniquely digestible for a NIN album, and probably deserves praise based on that alone.  Along with its fun, NIN-lite style, it also lacks the excesses and hiccups detectable on Year Zero and With Teeth.  Overall, it is remarkably good for a free album, much like Radiohead's "In Rainbows."  More importantly, it's an album that lives up to NIN's long and varied creative legacy.