1997: Not As Bad As You Think

by Chris Hayes

At the end of every year, or on January 21 in this case, music critics around the world attempt to convince you whether the past year was "a good year in music" or not. Well, I wrestled with my conscious about trying to brainwash you with the generic "this was good" and "this was bad." For your information, the brainwashing side won. So take a seat and listen as I attempt to twist my opinion into facts that you will believe as true and force you to think as I think.

Last week, I read an article in a local newspaper in which the author expressed his displeasure with 1997 from a musical standpoint. He continued to point out that he found now breakthrough in rock and roll, and otherwise called the year boring. Sure, there were many disappointing points and usual piles of crap to hit the radio and record stores, but I have to disagree (mostly because I disagree, but a little bit because I hate agreeing with people).

To label the entire year as a disappointment is a bold statement. Last year at this time, I was fighting for a list of five albums that I listened to regularly that I could write about. I am glad to say that this year I had a healthy list of albums and artists just dying to make it in my article that is no doubt close to musical divinity.

Coming to mind first is the incredible and overwhelming dominance of English bands who released incredibly strong albums. Oasis, by far the most popular band from across the Atlantic, released their third album, Be Here Now, in late August. It was conveniently in time for all the frat boys to find the next "Wonder Wall" to play for their flavor of the month. If you haven't found it yet, its "Don't Go Away," is a beautifully composed ballad from the string arrangement and guitar rifs all the way to Liam's vocals, which may be the best he has sung on tape. However, Be Here Now was an overall disappointment, both musically and in record sales. Beyond a few solid songs, including the driving opening track "D'You Know What I Mean?" and the swanky "The Girl In the Dirty Shirt," Oasis' third album lacked the progression in song writing that shined through on Morning Glory. Be Here Now sounds more like a group of B­sides from their first two albums than a third album. Official Disclaimer: Although I just dissed this record, it is still better than 95 percent of the records I listened to this year.

Now that the disappointment has been cleared out of my mind, I can focus on the other albums from the Brits that did rock hard. If you have ever picked up a British music mag, you came across an installment of the Oasis and Blur tiff that has gone on for years like some lame ass soap opera. In 1997, (in soap opera analogy) Blur had a steamy love affair with Oasis' sister without getting caught. What I love so much about Blur's success is that they made a hit out of a song that is not traditional "single material." "Song 2" is less than two minutes of pure noise that somehow hit the radios and then gained a well­sized following. Blur struck the diversity chord on their self­titled album, playing with distortion and vocal reverb in a way that was a refreshing break from the same old Brit Rock that seems to flood the market every year. Each song is well written and ingeniously produced in a very daring and unsafe manner that makes me love it even more.

Two other albums that will endure for years to come are Catherine Wheel's Adam and Eve and The Verve's Urban Hymns. Adam and Eve is Catherine Wheel's attempt at making a whole and cohesive project that flows from beginning to end like a classic book, with memorable and amazing parts, but without losing its sense of wholeness. On a side note, it wins the prize for probably the most clever and beautifully original art work for a cover. Well done, Catherine Wheel.

The album that has been getting a huge amount of hype and press since its release is The Verve's Urban Hymns. The release of the single "Bitter Sweet Symphony" launched them into super­stardom, along with a deal with Nike for the use of the song in a frequently­run commercial. Now with that sort of press behind them, The Verve may finally get the acknowledgment they have deserved for the past few years. Urban Hymns is saturated with the best written songs of the year. Richard Ashcroft has an amazing talent to stir up emotion from each song on the album. They scream with perfection on every listen. The Verve is here to stay.

Equally impressive are all three bands' ability to put on electrifying live performances. The band's vocalists spill an immeasurable excitement and energy into the audience. If you missed any of the three, you screwed yourself. Hint: The Verve is coming back in the spring. Don't be a fool buy a ticket.

Radio Head proved they are the most innovative band on the scene. OK Computer blasted away almost every other so called "innovative and groundbreaking" album. They achieved critical acclaim and even wide commercial success (rarely do both happen simultaneously). The subtleties and strangeness of OK Computer is surprisingly beautiful and masterfully executed. It is an experiment that actually went right.

I venture back to the United States, giving up my commentary on the Spice Girls due to lack of room. (Minus the Pepsi commercial, they have nothing going for them). While I have mentioned rock and roll thus far, I will continue the trend with Seely's release Seconds. I didn't mention this album earlier in the year because it has just recently became one of my favorites, along with Yo La Tengo's I Can Hearthe Heart Beating as One. These are as good as it gets in the U.S. Killer male and female harmonies and solid rhythms and melodies. These two bands set the standard for indie rock this year.

Speaking of indie rock, check out the ground broken by Ben Folds Five. Not long ago they were chillin' on Caroline; now they have a major hit ("Brick") and a major following since their jump to Sony. No one can call rock boring when a band made up of a pianist, a bassist, and a drummer are making it big. These guys are coming back in February to Clutch Cargo's. Check them out if you have been lazy and haven't seen them.

Switching the gears, there are a number of releases that deserve considerable recognition and acclaim. First off, Janet Jackson used her smarts and talent with the release of The Velvet Rope. It ventures off into trip-hop with the title track and "Got Til' It's Gone," into heavy rock on "What About," and classic Janet on tunes like "Special" and "Go Deep." The Velvet Rope shows Janet's true ability to write and produce an amazing album and that she is not just a pretty face.

Hip­hop had a sad moment with the death of Biggie Smalls and an even sadder moment with Puff Daddy cashing in on all the attention it received. B.I.G. was a gifted rapper. Puff Daddy is far, far, from that. If Sting knew the first thing about hip­hop, he would have thought twice before singing a duet with him on the MTV Video Awards.

Wyclef Jean of the Fugees released the most original and diverse hip-hop album this past year. The Carnival combines tradition hip­hop beats with a wide range of musical styles, from Caribbean to classical. Wyclef also mixes up with a hint of reggae and a ballad featuring the Nevil Brothers. Musically, Wyclef succeeded, but those damn skits in­between the songs have to go.

After rattling off these few albums, I cannot agree that the year was a total loss, or even boring. There are always going to be Third Eye Blind's (opening for the Stones! What was up with that?) and Match Box 20's trying to sink the ship, but when artists of real quality and talent release albums, there will always be enough good stuff to say about the past year in music. MR

This article was published in the 21 January 1998 edition of The Michigan Review (Volume 16, Number 6).
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