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 | Album: 1 of 12 Artist: Joanna MacGregor Title: Play Released: 2001 Tracks: 15 Duration: 1:07:20 Scroll: Up Down Top Bottom 25% 50% 75% Spotify AlbumCover Mercury Prize Nominee 2002 | 1 42nd St. Stomp (04:09) 2 Libertango (02:59) 3 Hughe Ashtons Ground (07:15) 4 Autumn in Warsaw (04:16) 5 Incarnation II (06:58) 6 Endgame (05:31) 7 Strumming (04:09) 8 Player Piano Study no. 11 (03:33) 9 Even Tenor (02:54) 10 Forlorn Hope Fancy (03:07) 11 Sonata no. 5 (01:30) 12 The Alcotts (05:06) 13 Ship in Embrace of the Endless Dark Ocean (07:32) 14 Allemande (05:28) 15 Dance It (02:47) |
 | Album: 2 of 12 Artist: Roots Manuva Title: Run Come Save Me Released: 2001-08-13 Tracks: 17 Duration: 57:57 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Wikipedia Allmusic AlbumCover Mercury Prize Nominee 2002 | 1 No Strings… (01:25) 2 Bashment Boogie (03:19) 3 Witness (1 Hope) (04:14) 4 Join the Dots (03:58) 5 Black Box Interlude (00:22) 6 Ital Visions (04:42) 7 Kicking the Cack (03:36) 8 Dub Styles (02:40) 9 Trim Body (03:35) 10 Artical (03:21) 11 Hol’ It Up (02:48) 12 Stone the Crows (03:21) 13 Sinny Sin Sins (03:36) 14 Evil Rabbit (03:24) 15 Swords in the Dirt (04:40) 16 Highest Grade (04:05) 17 Dreamy Days (04:43) |
| Run Come Save Me : Allmusic album Review : Just when the British hip-hop community seemed on its last legs, the victim of an over-powerful American marketing machine, Roots Manuva hit the stratosphere with his second record, the nearly Mercury prize-winning Run Come Save Me. A stunning record, it balanced the stark digital soul of British ragga with lurching beats, and Rodney Smiths star-making delivery and wide-ranging repertoire. "Witness (1 Hope)" earned its place as the best British rap single since Trickys "Aftermath," while "Bashment Boogie," "Hol It Up," and "Artical" were distinctive, hard-hitting, surprisingly groovy performances. As on his LP debut, Brand New Second Hand, Smith also spent time reflecting on his religious upbringing, with a distinctly unhumorous track ("Sinny Sin Sins," never mind the title) that dealt with his heavily disciplinarian father. And where the productions on debut sounded thin and tame, for Run Come Save Me he hit another level entirely with tracks by either Bennett or RM himself, whose Blows Yard Studio quickly took its place next to New Yorks legendary D&D Studios as a home to distinctive underground rap. Roots Manuva handled every type of song with flowing confidence and a bemused air, whether it was a club jam or a message track. | ||
 | Album: 3 of 12 Artist: Ms. Dynamite Title: A Little Deeper Released: 2002-06-10 Tracks: 16 Duration: 59:18 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Wikipedia Allmusic AlbumCover Mercury Prize *** WINNER *** 2002 | 1 Natural High (interlude) (00:56) 2 Dy-na-mi-tee (03:39) 3 Anyway U Want It (03:42) 4 Put Him Out (03:58) 5 Brother (03:34) 6 It Takes More (Bloodshy main mix) (04:39) 7 Sick n Tired (03:34) 8 Afraid 2 Fly (04:48) 9 Watch Over Them (01:16) 10 Seed Will Grow (03:23) 11 Krazy Krush (03:44) 12 Now U Want My Love (04:54) 13 Gotta Let U Know (04:09) 14 All I Ever (04:31) 15 A Little Deeper (04:33) 16 Get Up Stand Up (03:52) |
| A Little Deeper : Allmusic album Review : She didnt get much respect as a member of the chart-running, violence-generating So Solid Crew, but that all changed when Ms. Dynamite released her solo debut, A Little Deeper. And with nary a 2-step beat in sight, it would appear Ms. Dynamite has made a clean break from her garage past to embrace a form of British ragga/R&B that makes her one of the few evoking references to Roots Manuva and Lauryn Hill. She has as much personality and strength of delivery as either of them (high praise, that), and carries the album as much as the tight production. Another name to think of is Craig David; like the only 2-step figure to make any impression on American R&B fans, A Little Deeper has a few concessions to commercial radio (i.e., the musically unadventurous). The Santana guitar lines on "Put Him Out" and the single "It Takes More" would fit perfectly on radio. Sure, the albums a bit more edgy than any of her American contemporaries ("Krazy Krush" is a great head-twisting track), but its still not too far from Hill and other neo-soul figures. That may make her more palatable to a worldwide audience, but it also makes for a more diluted sound that doesnt impress quite like it could have. | ||
 | Album: 4 of 12 Artist: David Bowie Title: Heathen Released: 2002-06-05 Tracks: 12 Duration: 51:41 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Allmusic AlbumCover Mercury Prize Nominee 2002 | 1 Sunday (04:45) 2 Cactus (02:54) 3 Slip Away (06:04) 4 Slow Burn (04:41) 5 Afraid (03:28) 6 I’ve Been Waiting for You (03:00) 7 I Would Be Your Slave (05:13) 8 I Took a Trip on a Gemini Spaceship (04:06) 9 5:15 the Angels Have Gone (05:01) 10 Everyone Says ‘Hi’ (03:57) 11 A Better Future (04:11) 12 Heathen (The Rays) (04:16) |
| Heathen : Allmusic album Review : Heathen marks a new beginning for David Bowie in some ways -- its his first record since leaving Virgin, his first for Columbia Records, his first for his new label, ISO -- yet its hardly a new musical direction. Like Hours, this finds Bowie sifting through the sounds of his past, completely at ease with his legacy, crafting a colorful, satisfying album that feels like a classic Bowie album. Thats not to say that Heathen recalls any particular album or any era in specific, yet theres a deliberate attempt to recapture the atmosphere, the tone of his 70s work -- theres a reason that Bowie decided to reteam with Tony Visconti, the co-producer of some of his best records, for this album -- even if direct comparisons are hard to come by. Which is exactly whats so impressive about this album. Bowie and Visconti never shy away from electronic instrumentations or modern production -- if anything, they embrace it -- but its woven into Bowies sound subtly, never drawing attention to the drum loops, guitar synths, and washes of electronica. For that matter, guest spots by Dave Grohl and Pete Townshend (both on guitar) dont stand out either; theyre merely added texture to this an album thats intricately layered, but always plays smoothly and alluringly. And, make no mistake, this is an alluring, welcoming, friendly album -- there are some moody moments, but Bowie takes Neil Youngs eerie "Ive Been Waiting for You" and Pixies elusively brutal, creepy "Cactus" and turns them sweet, which isnt necessarily a bad thing, either. In the end, thats the key to Heathen -- the undercurrent of happiness, not in the lyrics, but in the making of music, a realization by Bowie and Visconti alike that they are perfect collaborators. Unlike their previous albums together, this doesnt boldly break new ground, but thats because, 22 years after their last collaboration, Scary Monsters, both Bowie and Visconti dont need to try as hard, so they just focus on the craft. The result is an understated, utterly satisfying record, his best since Scary Monsters, simply because hed never sounded as assured and consistent since. | ||
 | Album: 5 of 12 Artist: The Electric Soft Parade Title: Holes in the Wall Released: 2002-02-04 Tracks: 12 Duration: 55:50 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia AlbumCover Mercury Prize Nominee 2002 | 1 Start Again (03:54) 2 Empty at the End (03:01) 3 Theres a Silence (02:52) 4 Somethings Got to Give (03:49) 5 Its Wasting Me Away (04:17) 6 Silent to the Dark (09:00) 7 Sleep Alone (04:09) 8 This Given Line (04:12) 9 Why Do You Try So Hard to Hate Me (04:38) 10 Holes in the Wall (05:14) 11 Biting the Soles of My Feet (06:25) 12 Red Balloon for Me (04:12) |
 | Album: 6 of 12 Artist: Gemma Hayes Title: Night on My Side Released: 2002-05-27 Tracks: 12 Duration: 52:59 Scroll: Up Down Top Bottom 25% 50% 75% Spotify AlbumCover Mercury Prize Nominee 2002 | 1 Hanging Around (03:36) 2 Back of My Hand (04:06) 3 Let a Good Thing Go (radio edit) (03:25) 4 Tear in My Side (04:03) 5 I Worked Myself Into a Calm (03:59) 6 Lucky One (Bird of Cassadaga) (05:09) 7 Making Waves (03:39) 8 Ran for Miles (04:31) 9 My God (04:26) 10 4:35 am (03:02) 11 I Wanna Stay (06:59) 12 Evening Sun / What a Day (06:01) |
 | Album: 7 of 12 Artist: The Streets Title: Original Pirate Material Released: 2002-03-25 Tracks: 14 Duration: 47:50 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Wikipedia Allmusic AlbumCover Mercury Prize Nominee 2002 | 1 Turn the Page (03:17) 2 Has It Come to This? (04:04) 3 Let’s Push Things Forward (03:53) 4 Sharp Darts (01:35) 5 Same Old Thing (03:24) 6 Geezers Need Excitement (03:47) 7 It’s Too Late (04:12) 8 Too Much Brandy (03:04) 9 Don’t Mug Yourself (02:40) 10 Who Got the Funk? (01:52) 11 The Irony of It All (03:31) 12 Weak Become Heroes (05:35) 13 Who Dares Wins (00:36) 14 Stay Positive (06:16) |
| Original Pirate Material : Allmusic album Review : When Streets tracks first appeared in DJ sets and on garage mix albums circa 2000, they made for an interesting change of pace; instead of hyper-speed ragga chatting or candy-coated divas (or both), listeners heard banging tracks hosted by a strangely conversational bloke with a mock cockney accent and a half-singing, half-rapping delivery. It was Mike Skinner, producer and MC, the half-clued-up, half-clueless voice behind club hits "Has It Come to This?" and "Lets Push Things Forward." Facing an entire full-length of Streets tracks hardly sounded like a pleasant prospect, but Skinners debut, Original Pirate Material, is an excellent listen -- much better than the heavy-handed hype would make you think. Unlike most garage LPs, its certainly not a substitute for a night out; its more a statement on modern-day British youth, complete with all the references to Playstations, Indian takeaway, and copious amounts of cannabis youd expect. Skinner also has a refreshing way of writing songs, not tracks, that immediately distinguishes him from most in the garage scene. True, describing his delivery as rapping would be giving an undeserved compliment (you surely wouldnt hear any American rappers dropping bombs like this line: "I wholeheartedly agree with your viewpoint"). Still, nearly every song here succeeds wildly, first place (after the hits) going to "The Irony of It All," on which Skinner and a stereotypical British lout go back and forth "debating" the merits of weed and lager, respectively (Skinners meek, agreeable commentary increasingly, and hilariously, causes "Terry" to go off the edge). The production is also excellent; "Lets Push Things Forward" is all lurching ragga flow, with a one-note organ line and drunken trumpets barely pushing the chorus forward. "Sharp Darts" and "Too Much Brandy" have short, brutal tech lines driving them, and really dont need any more for maximum impact. Though club-phobic listeners may find it difficult placing Skinner as just the latest dot along a line connecting quintessentially British musicians/humorists/social critics Nöel Coward, the Kinks, Ian Dury, the Jam, the Specials, and Happy Mondays, Original Pirate Material is a rare garage album: that is, one with a shelf life beyond six months. | ||
 | Album: 8 of 12 Artist: Guy Barker Title: Soundtrack Released: 2002-11-20 Tracks: 8 Duration: 1:12:42 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover Mercury Prize Nominee 2002 | 1 Underdogs (10:49) 2 Nature Boy (06:25) 3 Waiting for the Delay (09:40) 4 Purr (06:43) 5 Suzannahs Song (02:42) 6 Izzatso (06:39) 7 Queen of the Night (04:55) 8 Sounds in Black and White (24:47) |
 | Album: 9 of 12 Artist: The Bees Title: Sunshine Hit Me Released: 2002-03-25 Tracks: 12 Duration: 44:50 Scroll: Up Down Top Bottom 25% 50% 75% Wikipedia Allmusic AlbumCover Mercury Prize Nominee 2002 | 1 Punchbag (03:38) 2 Angryman (04:06) 3 No Trophy (03:26) 4 Binnel Bay (02:57) 5 Sunshine (03:27) 6 A Minha Menina (02:49) 7 This Town (02:59) 8 Sweet Like a Champion (04:27) 9 Lying in the Snow (03:53) 10 Zia (04:12) 11 Sky Holds the Sun (03:40) 12 You Got to Leave (05:12) |
| Sunshine Hit Me : Allmusic album Review : The Bees prance around the same psychedelic pop themes and tones of the Beta Band on Sunshine Hit Me. But somehow they take things to a whole other level, as their familiarity with vintage instruments and addictive laid-back swagger help them avoid the pretension that sometimes follows the Beta Band. Where the Isle of Wight duos peers might name-check the Beach Boys, the Bees simply use them as a subtle starting point. Gentle harmonies mix perfectly with ornate horns that seem straight off a Stereolab album. Its hard to say whats more compelling about the great "Punchbag": Is it the lyric "Im too much for caged monkeys" or the utterly warped beat that shuffles back on itself like a stoned boxer? The Bees dont linger in one musical genre like so many neo-psychedelic bands. Instead, they perfect one style and then move on to another, and somehow it all fits together perfectly. The lazy throwback jazz of "Angryman" fits snugly alongside the sublime, wobbly dub of "No Trophy." The latter really is stunning, sounding as if it were recorded in the heart of Jamaica rather than on a semi-desolate island. "A Minha Menina" (an Os Mutantes cover) gives the White Stripes a run for their money, as dollops of mad blues energy and a fuzzy guitar beg for inclusion on some future Nuggets compilation. The final five tracks are surprising in their adherence to mellow dynamics, showing that the Bees are wholly confident to end their debut with peaceful pianos, somber organs, muted trumpets, and a general sense of serenity. "Zia" is even reminiscent of contemporary slow-drip songs from Lambchop, only without the irony. The Bees emerge as true masters of atmosphere with the swirling, delightful Sunshine Hit Me. | ||
 | Album: 10 of 12 Artist: The Coral Title: The Coral Released: 2002-07-29 Tracks: 12 Duration: 40:44 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover Mercury Prize Nominee 2002 | 1 Spanish Main (01:53) 2 I Remember When (03:38) 3 Shadows Fall (03:29) 4 Dreaming of You (02:21) 5 Simon Diamond (02:28) 6 Goodbye (04:02) 7 Waiting for the Heartaches (04:03) 8 Skeleton Key (03:03) 9 Wildfire (02:45) 10 Badman (03:03) 11 Calendars and Clocks (03:51) 12 Time Travel (06:05) |
| The Coral : Allmusic album Review : The Corals jocular self-titled debut kicked up quite a flurry of excitement when it washed ashore in the summer of 2002. Many reviewers gave a hearty cry of "Avast Ye Maties" when they discovered the band was from the picturesque seaside village of Hoylake, a deep-water anchorage in the borough of Wirral. Not since the Beatles, or perhaps even Echo & the Bunnymen, has a young band from Englands blustery western coast caused this much commotion. Other critics have focused on their ages; at 21, lead singer/guitarist James Skelly was the oldest when this album was recorded, but the rest of these landlubbers were considerably younger, averaging somewhere closer to 19. The fantastic voyage that is The Coral, however, is the real discovery. The album begins with a two-minute psych-rock sea shanty, "Spanish Main," which bursts forth with a frothy and joyous refrain that sounds inspired by Treasure Island or Disneys Pirates of the Caribbean, perhaps. Along the way, the boys pick their way through somewhat-discarded flotsam and jetsam genres (mostly from the 60s), including 1964-era Merseybeat, horn-driven ska, fuzzed-out acid rock, and Brit-pop psychedelia. The aforementioned critics have fallen all over themselves trying to distill the Corals various influences, name-checking a wide range of West Coast bands -- the Doors, Love, the Beach Boys, Quicksilver Messenger Service, and even the Banana Splits -- and even tossing in a handful of Londoners, like Syd Barrett-era Pink Floyd and the Action. Others have opted to categorize the Coral as sounding closer, at least in spirit, to the Beta Band, Shack, or "a scouse Primal Scream on a skiffle tip." "Shadows Fall" is where this adventurous tale really finds its sea legs; the Top 30 U.K. single features an eccentric salmagundi of styles and sounds, including barbershop quartet vocals, Madness-style pop-ska, Russian Cossack folk, and a subtle Morricone-esque harmonica. The result is a bit jarring, but theres a fervent originality at work here, despite all of the referencing of the halcyon past. "Dreaming of You" is probably an even better example of what the Coral have to offer, with strong lead vocals and suitably cheeseball organ. "Simon Diamond" is effervescent 1967-style British psych-pop (Nirvana U.K. or Kaleidoscope U.K., take your pick), while the rambunctious "Skeleton Key" blends Zappa-esque guitars, serpentine Middle Eastern melodies, and flavorful horns. In addition to a massive heaping of critical praise, the Coral also managed to connect with an audience who plunked down enough gold doubloons to help this album land in the U.K.s Top Ten charts. The Coral was subsequently nominated for the Mercury Music Prize. | ||
 | Album: 11 of 12 Artist: Doves Title: The Last Broadcast Released: 2002-04-29 Tracks: 12 Duration: 53:59 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Allmusic AlbumCover Mercury Prize Nominee 2002 | 1 Intro (01:17) 2 Words (05:42) 3 There Goes the Fear (06:54) 4 M62 Song (03:48) 5 Where We’re Calling From (01:24) 6 N.Y. (05:46) 7 Satellites (06:50) 8 Friday’s Dust (03:35) 9 Pounding (04:45) 10 Last Broadcast (03:22) 11 The Sulphur Man (04:37) 12 Caught by the River (05:55) |
| The Last Broadcast : Allmusic album Review : When Doves issued Lost Souls in fall 2000, Britpop was immersed in its melodic gloom-and-doom era, ushered in by the success of Radiohead. The likes of Coldplay, Travis, Elbow, and Starsailor followed in their wake, as did Doves. What separated Doves from the rest was a glint of passion, evident on their 2000 debut, Lost Souls. Two years later, the atmospheric dreamscapes of Lost Souls were torn asunder for the musical daybreak of The Last Broadcast. As it turns out, the psychedelic vibrancy of "Catch the Sun," the brightest track on the album, pointed toward this brave second record. Gone are the hazy space rock trips and the cheerless attitudes; Doves are on the sunny side of the street for The Last Broadcast. The seven-minute sonic boom of "There Goes the Fear" finds Jimi Goodwin sharing vocals with Jez and Andy Williams for a glorious chorus. Each of them switches up vocal duties throughout, lending a joyous feel to the album itself. From the bold front of "Words" to the fiery momentum of "Pounding," The Last Broadcast shows a refreshing rawness that was absent before. The High Llamas Sean OHagan delivers sweeping orchestral arrangements for the sublime "Fridays Dust," while the electronic dewdrops of "The Sulphur Man" push Doves divine ambience further to the front.Doves were caught up in making grand compositions on Lost Souls, which worked fabulously, but it was too much. Theyve stripped down to the basics, letting the optimism of The Last Broadcast take center stage. Its a brilliant moment. | ||
 | Album: 12 of 12 Artist: Beverley Knight Title: Who I Am Released: 2002-02-17 Tracks: 15 Duration: 59:19 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia AlbumCover Mercury Prize Nominee 2002 | 1 Get Up! (03:46) 2 Shoulda Woulda Coulda (03:32) 3 Shape of You (04:27) 4 Fallen Soldier (03:20) 5 Beautiful Contradiction (04:45) 6 Hurricane Jane (04:07) 7 Same (as I Ever Was) (03:36) 8 Whatever’s Clever (03:57) 9 Ambition (It All Comes 2 U) (03:20) 10 Bestseller Mystery (05:13) 11 Gold (04:49) 12 Who I Am (01:44) 13 Shoulda Woulda Coulda (Philly version) (04:55) 14 Gold (single mix) (03:52) 15 Shape of You (Reshaped) (feat. Hollywood) (03:48) |