Spillyear 2002

You want 60s? Severin’s off-white Beatles post is here.

You want 80s? Carole’s shinily produced post is here.

You want early 00s? Looks like you’ve come to the right place.

I don’t appear to have bought many records in 2002, though there were some good ones I didn’t catch up with at the time. What about you?

Add your top 3 to the collaborative playlist which doesn’t seem to like being a hyperlink

http://www.youtube.com/playlist?list=PLSM6V5dN78_BzLpt54TNriNg0LK3ZkmTy&jct=ZQ4AYBeG-LSbKsnUWH9xCiFZ14nBmw

60 thoughts on “Spillyear 2002

  1. I spent most of 2002 living in Peterborough. It was the year after I left uni, and I had my first proper job, working in a cinema/theatre recently opened by an eccentric amnesiac octogenarian local millionaire, to the massive indifference of the population of this soul-destroying city. My girlfriend and I rented our first flat. The two records I associate most closely with it, though, appear to have been 2001 releases (Pulp’s We Love LIfe, Mull Historical Society’s Loss).

    Coldplay’s A Rush Of Blood To The Head was NME’s album of the year, which tells you pretty much all you need to know about the UK music scene. But things were changing. One night, I almost went to see a new band I’d heard about playing in a local pub, but in the end I didn’t, figuring that nothing any good would be happening in Peterborough. They were called The Libertines.

    But I did hear Original Pirate Material by The Streets, and still think it’s one of the best albums of this millennium. I’ve had a total of 4 Streets songs A-listed on RR, though “Too Much Brandy” wasn’t one of them.

    I heard “Listening to Otis Redding at Home During Christmas” on John Peel while driving home one night, and never forgot it. But it was several years before I decided to google the opening lines, which had stayed with me, and properly discovered Okkervil River.

    Lambchop’s Is A Woman album is a slow burner, and I didn’t really make sense of it until I saw them live (in Cambridge – obviously not in Peterborough). You’ve never seen so many musicians making so little noise – wonderfully subtle stuff. “My Blue Wave” is the stand-out track.

  2. Ha! I recognise the picture, and thus of course the reason for posting it.

    Too busy playing catch-up and prioritising to expand much on why I’m picking these, but three for you:

    Audioslave – Set It Off
    Cornershop – Lessons Learned From Rocky I to Rocky III
    Chris Robinson – Katie Dear

  3. An(other) amazing year for music! Have whittled it down to about 10 tracks so far, will be difficult to pick just 3!

    2002 was the year that I moved to Japan. I was young (25), single and extremely nervous. I’m not really the adventurous type and moving to the other side of the world was a pretty unthinkable thing for me to do. I just kind of set the ball in motion by applying for a job and then just let it happen….without realising it, I just kind of found myself in Japan!

    Anyway, so much music. With mentions for Ikara Colt, White Stripes, Queens of the Stone Age, Flaming Lips, Snotty (Japanese punk band whom I saw in Brighton before I left and then met in the first nightclub I went into in Japan!), will go for:

    Liars – Grown Men Don’t Fall in The River, Just Like That

    Yeah Yeah Yeah’s – Art Star ( I made my ex-girlfriend a whole compilation tape just because I wanted her to hear this song)

    LCD Soundsystem – Losing My Edge

    ….ah…gotta work!

  4. Mountain Goats – Oceanographer’s Choice
    Thee More Shallows – The 8th Ring Of Hell
    Sage Francis – Makeshift Patriot

    Bumping out anything from Beck or Nina Nastasia’s best albums.

  5. It would appear that I bought very few 2002 releases actually in 2002, and oddly, there are few 2002 releases that I own that I bought later on. This implies that it wasn’t much of a year for things I like. That kind of fits in with my memories of the year in question, which was a bit of a problematic one on a personal level. Looking back at what did emerge in 2002, there doesn’t seem to be much that I would have liked then, or much that I like now, although Opeth, Porucipne Tree and Audioslave all released albums that I now own.

    Anyway, the only relevant albums I bought that year were;

    Robert PlantDreamland
    Norah JonesCome Away With Me
    RoyksoppMelody A.M.
    Johnny CashThe Man Comes Around

    So, three picks.Hmmmm. I’ll avoid “Hurt”, great though it is, because it is bound to be someone else’s choice.

    Once again, I don’t seem to be able to add any tracks to the playlist, so I have linked them to this post.

    Johnny Cash – Personal Jesus
    Norah Jones – The Nearness Of You
    Robert Plant – Morning Dew

    • It is strange but YT gives two varieties of the same link when you set it on Collaborative Playlist, one which takes you to the playlist and the other the key which appears in the small box. This key changes once in a while and that may be a reason. But who knows what the YT bots think!

  6. A strange year for me – I turned 24 and had just embarked on the research for my PhD which consisted of sitting in a dark lab for 10hours a day playing with lasers which is much more depressing and far less cool than it sounds – in reality I still wasn’t sure that it was what I wanted to do, so it was a time of much uncertainty, add in the fact that the future Mrs Bandit was off travelling the world and I missed her dreadfully, and my Nan passed away, looking back 2002 was not a great time – musically I seemed to really turn away from looking for new things and seemed to retreat into exploring jazz back catalogues etc but a couple of outstanding things that did get my interest.

    Flaming Lips – Do You Realise?
    Sigur Ros – Untitled (Vaka from () )
    Johnny Cash – Hurt

    The self indulgent melancholy of all of those tracks seemed to resonate powerfully for me that year. I’d been a Johnny Cash fan as long as I could remember and loved his resurgence under Rick Rubin but the bleakness of Hurt and the remarkable way it was reinterpreted just blew me away.

    (The self indulgent melancholy resonated

  7. Perusing my Itunes..

    2002 was the year that Sigur Ros released the album that doesn’t have a proper title. Well, ok, it’s called (). I only bought it a few weeks ago though and don’t know it well enough to nominate anything from it. Had no idea they existed at the time.
    Kylie released Fever and why shouldn’t she?
    Linda Thompson released Fashionably Late. HMHB released Cammell Laird Social Club. Cassandra Wilson released Belly of the Sun, which has her version of The Weight on it. A combo called Ryukyu Underground released their first album of Okinawa music samples and beats (which I bought on impulse in the sale at HMV).

    I suspect I shall be trawling lists of singles of the year for more inspiration.

  8. Yay! The playlist is working and I’ve added mine before actually shouting them here, so retrospectively,
    Jack – Maybe My Love Doesn’t Answer Anything in You Anymore
    a rather unwieldy title and it took me a while to love this, from the last album by Jack, but it’s a grower, I think
    Ladytron -Cease2xist
    I love a bit of Ladytron, they make everything so clean and neat, unlike
    Queen Adreena – Sleeping Pills
    Katie Jane Garside is very messy, noisy and loud, except on this song, which I love

  9. Having perused the usual album and single lists for 2002, I find it was another fallow year (for me, shane: obviously this is no reflection on the quality of the music released, which was all as good as 1968 in its own way…….(‘Oh, no, it wasn’t!’ – Audience)

    Personally, I embarked on a new domestic situation, moving house for the first time in 15 years. I also turned 50 and, with the help of Dennis McNally’s book and the release of Steppin’ Out with the Grateful Dead, released in 2002, remembered Europe 72. From which these tracks are picked:

    Playing In The Band – the first one I witnessed in person
    The Stranger (Two Souls In Communion) – Pigpen’s hopeless, heart-rending plea for love, less than a year before his death
    Rockin’ Pneumonia And The Boogie Woogie Flu – a GD rarity played with a big, cheesy grin

    • (…this is no reflection on the quality of the music released, which was all as good as 1968 in its own way…….(‘Oh, no, it wasn’t!’…)

      which was all as good as 1968

      *sigh*

      I DO NOT argue about if one era is as good as another – I argue that every year is AS CREATIVE as each other… that was my whole point.

      Because the very simple point I argue is: nothing should be compared BECAUSE IT’S PERSONAL TATSE – decided by hundreds of varying factors.

      every year is AS CREATIVE as each other
      2002 was just as creative as 1968

      because The Streets, Sigor Ros, Flaming Lips, DJ Shadow, Out hud, The Real Tuesday Weld, Buck 65 etc etc etc released albums unique to them and their era (whatever their quality)… different, imaginative, and a personal visions – just as creative as bands producing their own audio experiments in 1968.

      AS CREATIVE
      I never say: ‘as good’ – that’s personal choice – It should NOT be a competition.

      • Words, eh? Why? What good are they? I’ll happily substitute creative for good in my original aside, shane. The popular music scene in 1968 was more creative than that in 2002. I’ll stand by that assertion and, for that reason alone, it was also more good.

        *wink*

      • oh great! – putting my name next to the comment inferred that I would argue that it was as ‘good’ – changing ‘good’ to ‘creative’ would infer I’d argue 2002 was as creative as 1968… I wouldn’t do that either.

        every year is creative – that’s what I’ve argued – and always will – the quality is immaterial – I’d argue for my favourite style and my favourite era of music – but that’s a whole other point. it’s you inferring that I prefer the output of 2002 to 1968 that is blatantly misunderstanding my point.

        “The popular music scene in 1968 was more creative than that in 2002. I’ll stand by that assertion and, for that reason alone, it was also more good”
        … is still a matter of opinion – and I wholeheartedly understand your idea of that – if I expressed a preference I might well agree… but that’s an ‘if’ – because I want The Velvet Underground And The Dream Syndicate – I want Simon and Garfuncle AND Kings of Convenience – I also want Leneord Cohen AND The Mountain Goats…

        But, if you compare Des O’Conner and Cliff Richard to The Streets and Sigor Ros – then I’m going with 2002.
        If you compare every bit of recorded music – then the amount from 2002 is vastly larger – i.e. there was more created (recording and pressing was cheaper), ergo the percentage = more creative an output. That percentage could be cut down to what was ‘good’ i.e. The Beatles, to what was fodder i.e. Des… or the other way around depending on taste.

        Because I heard an argument when my Nan and Aunt ran the music department in the hardware shop they both worked in, when I was about 8 (it had probably been going on for the previous decade) – it went something like:
        Nan: Des sang proper songs with a verse and a chorus that you could sing along to; The Beatles make a disjointed racket.
        Aunt: The Beatles are unique and experimental making music you’ve never heard before.
        Nan: Doesn’t make it any good.
        Aunt: Sigh.

        So you’d argue ’68 was more creative and so would my Nan – but your choices of whom was more creative in ’68 would differ… because of taste.

        I just wouldn’t bother with THAT argument… because I just don’t care.

        *wink wink*

      • One day we will sit together and agree on almost everything musically, I’m sure.
        I don’t really care about the comparisons either, and I didn’t expect you to argue that 2002 was as creative as 1968 (although you do infer that). I certainly didn’t expect you to champion 2002 over 1968. I do struggle with not making any value judgements about the comparative quality though (you’re all winners!) and I should curb my occasional tendency to goad you….

        Peace and love…..

      • I didn’t want to be involved in this debate and I have to disagree with Chris that ‘One day we will all sit in Harmony’, won’t happen. But I’ll challenge Shane’s argument,

        ‘I DO NOT argue about if one era is as good as another – I argue that every year is AS CREATIVE as each other’.

        Rather than comparing 1968 with 2002 let’s compare either or both with 1948, I year I well remember, I was a teenager. And what we’re looking for is ‘creativity’.
        How do you define it under these circumstances? I an earlier comment I suggested that what the Beatles were doing in the studio with ‘A day in the life’ was the epitome of musical creativity, I don’t see creativity to that degree anymore. I just found a quote by music historian Michael Campbell, he states:
        “Innovation was the most striking feature of their creative evolution, according to music historian and pianist Michael Campbell: “‘A Day in the Life’ encapsulates the art and achievement of the Beatles as well as any single track can. It highlights key features of their music: the sound imagination, the persistence of tuneful melody, and the close coordination between words and music. It represents a new category of song – more sophisticated than pop … and uniquely innovative. There literally had never before been a song – classical or vernacular – that had blended so many disparate elements so imaginatively.” Philosophy professor Bruce Ellis Benson agrees: “the Beatles … give us a wonderful example of how such far-ranging influences as Celtic music, rhythm and blues, and country and western could be put together in a new way.”

        Back to 1948, Google it and you’ll see the state of pop music for that year, it was composed primarily of vocalists, like Bing Crosby, Peggy Lee, Doris Day, the Andrew Sisters et al. The pop music they ‘created’ resulted from being told by their record company producers to ‘be in the studio on Thursday to record such and such a song that ‘whoever’ had written. They’d probably/possibly never heard of it nor did they know any of the musicians that the studio producer had compiled for them. The musicians read the notes off the charts and the vocalists had the lyrics on a sheet in their left hand; that’s about how creative the process was. Go to
        http://www.bobborst.com/popculture/top-100-songs-of-the-year/?year=1948
        and you’ll see the top 40 for that year. Creativity wasn’t part of the equation. You can’t argue that year was as creative as any other.

      • I love talking about creativity – so would happily sit in harmony with both of you.
        Just because an opinion is different doesn’t make it a war or angriness.

        first gf – you have far more important things on your mind, so I hope you and your wife are coping; there’s sadness all about at the moment it seams to be a constant weeping year. My thoughts are with you.

        If this is a distraction and you don’t take it too seriously then 1948 was the year Patti Page becomes the first artist to use the technique of multi-track overdubbing and Columbia Records introduces the 33⅓ rpm LP featuring 25 minutes of music per side, compared to the four minutes per side of the 78 rpm record, the previous standard for gramophone records… Your boys in ’68 couldn’t have done anything without those bit of musical and technical creativity… I never said anything about creativity having to be defined as ‘pop’ (but if The Beatles were popular in ’68 – so Jazz was a popular music of ’48 – there’s a damn lot of creativity in that strand of popular music – although my taste and yours would probably clash there too – heehee).

        There’s the first Nice Jazz Festival with Louis Armstrong, Stéphane Grappelli, Claude Luter, Mezz Mezzrow and Django Reinhardt. It was during this first edition that Suzy Delair sings for the first time the song “C’est si bon”.

        … and Gabriel von Wayditch completed the piano score to his last opera The Heretics; the massive 8.5 hour work, which is listed in the Guinness Book of World Records as the world’s longest opera… is creative and involving music in my book.

        Plus Igor Stravinsky and Robert Craft meet for the first time – so there you have it a little dip into some musical creativity from 1948…. I wasn’t there; I might well have detested it too. But where ever you look, and listen, there’s just as much creativity happening.
        (in my book – anyway – although no-one will quote from it in the future)

        Peace.

  10. The albums I mentioned above were all bought long after the event.
    I don’t think I bought any new music in 2002. I’d all but given up on keeping up with new developments and was watching Pop Idol and Stars in Their Eyes with considerably more enthusiasm than I gave to anything more musically demanding.
    To be honest I genuinely didn’t (and still don’t) like much of the music of that period. To be even more honester I was already heading for a horrible bout of depression which didn’t fully manifest itself until the following year and I couldn’t be doing with investigating the music world beyond the odd single I heard on the radio.
    I still like these three:

    Beverley Knight – Shoulda, Woulda, Coulda
    Girls Aloud – Sound of the Underground
    Ms Dynamite – Dy-Na-Mi-Tee

    • Well, at least you weren’t in Peterborough. Those are three cracking singles (Sugababes – Freak Like Me was also 2002 I think).

    • Shane: OK, this is what I was talking about, this could go on forever as you refuse to define creativity and you introduce non relevant topics. We started off talking about pop music, jazz, then or now, isn’t/wasn’t pop music, neither is classical, and Les Paul was experimenting with multi tracking and overdubbing in the early 40’s, [see my post on that subject within the last year]. Les Paul was a CREATIVE, MUSICAL artist, that’s a lot different from a corporation exploiting his inventions for profit. and the microgroove LP was not a creative musical innovation, it was a technological innovation, again intended for profit.

      Jazz has been my first music of choice from the mid 40’s ’til the ’70’s, it was what I listened to so I’m very familiar with ‘the first Nice Jazz Festival with Louis Armstrong, Stéphane Grappelli, Claude Luter, Mezz Mezzrow and Django Reinhardt.’ plus numerous others. But so what, that has nothing to do with creative musicianship, it was a commercial venture, someone rented a facility and hired a group of musicians to play there. Their creativity was independent of the event. And neither does classical music fit the ‘pop music’ category.

      We’re talking about periods of musical creativity and whether there was greater or lesser creativity in various periods, and if so what were/are the influences?
      Shane, I think you’re arguing for the sake of arguing and I’ve said all I have to say on this subject, if you choose to continue check with Chris or Carole or anyone else who shares our views.

      One obvious detail is that you were not there, I was. There was something about that era that creative music was only a part of, it was a time of war, of great social protest and the lyrics and the groups played a huge part that doesn’t come through when listening to a CD re-issue. There was a social vibe and the music was a very significant part of it, that’s a major element in the creative vibe of that period.
      The era’s we’ve mentioned were all before you were born, but they were eras that I participated very actively in, I’m arguing because I think I know something about this subject that you cannot know and there’s no war or angriness here.

      Shane, thank you for your kind personal thoughts, yesterday we spent all day at a memorial event and a funeral, it was a most significant event for me. There were 100+ friends and family and one white face, I’ve never felt so warmly welcomed to anything in my life before, literally a life changing experience even though it was in a church with 100% Christians.

  11. 3 from me

    the walkmen – revenge wears no wristwatch
    Interpol – leif erikson
    ….trail of dead – heart in the hand of the matter

    others
    GY!BE – rockets fall on rocket falls
    broken social scene – cause = time
    mclusky – to hell with good intentions
    liars – mr your on fire mr

  12. I can see the collab playlist, but there is no Add Video button. Sometimes there is on these (RR & Spill) playlists and sometimes not. Do I have to log in in a special way or is it open to all?

  13. 2002 was the year I discovered Mary Gauthier – Mark Lamarr played The Ledge from her new album Filth And Fire on his radio programme…unfortunately he didn’t tell me how to spell Gauthier so I was at a loss, till I thought of googling Ledge Mary and up she popped. Never looked back with MG.

    There’s a story that after the attack on the Twin Towers someone saw Bruce Springsteen driving out of a supermarket carpark one day and called out “We need you now, man!” Bruce obviously took this to heart and went straight home and wrote The Rising from which I choose the eponymous The Rising for the extraordinary song that it is.

    Last but not least, 2002 was the year my son Matt got married, I visited the US for the first time and first heard the Gourds. So from their 2002 album Cow Fish Fowl Or Pig I pick my favourite Gourds song (perhaps) Hellhounds.

  14. Wiley – Eskimo (What was that sound? I thought.)
    Talib Kweli – Get By (Uplifting and yet still very real. Funky. Oh yt links to Blackalicious which was also ace 2002 rap.)
    Sonic Youth – The Empty Page (All Of Murray Street is magnificent. Some of the best SY lyrics and sounds. So pretty as well, in-between the squalls, of course.)

    Fuel

  15. 2002 rap: The Roots – Phrenology / Common – Electric Circus/ K-os – Exit another Canadian Buck 65 and the amazing ‘Square’ / Sage Francis – Personal Journals

    outthere stye: The Streets – Original Pirate Material / RJD2 – Deadringer / The Herbaliser -Something Wicked This Way Comes / Thievery Corporation – The Richest Man in Babylon / David Holmes – Come Get It I Got It / Boards of Canada – Geogaddi

    more Ninja style: Fog – Fog / Funki Porcini – Fast Asleep / Mr. Scruff- Trouser Jazz / DJ Vadim – U.S.S.R.: The Art of Listening / Homelife – Flying Wonders and Jaga Jazzist and Amon Tobin.

    Then there’s some of the other records I purchased:
    The Mountain Goats – Tallahassee
    Ballboy – A Guide For The Daylight Hours
    The Flaming Lips – Yoshimi Battles the Pink Robots
    Sigur Rós – ( )
    …And You Will Know Us by the Trail of Dead – Source Tags & Codes
    The Notwist – Neon Golden
    Beth Gibbons & Rustin Man – Out of Season
    Clinic – Walking With Thee
    The Walkmen – Everyone Who Pretended to Like Me Is Gone
    Queenadreena – Drink Me
    Malcolm Middleton – 5:14 Fluoxytine Seagull Alcohol John Nicotine
    Baxter Dury – Len Parrot’s Memorial Lift
    Lemon Jelly – Lost Horizons
    The Bees – Sunshine Hit Me
    J Mascis + The Fog – Free So Free
    Frank Black and The Catholics – Black Letter Days
    Acid House Kings – Mondays Are Like Tuesdays and Tuesdays Are Like Wednesdays
    Saint Etienne – Finisterre
    The Chemical Brothers – Come With Us
    Beth Orton – Daybreaker
    Out Hud – Street Dad
    Real tuesday Weld – I, Lucifer
    Tender Trap – Film Molecules
    My Computer – Vulnerabilia
    Departure Lounge – Too Late To Die Young
    Télépopmusik – Genetic World
    Radio 4 – Gotham
    The Organ – Sinking Hearts

    it was an alright year by me.

    3 songs:

    Groove Armada – Madder
    Golden Boy & Miss Kittin – Rippin Kittin
    Bright Eyes – Lover I don’t have to love

    or

    The Mountain Goats ~ See America Right
    Ballboy – You Can’t Spend Your Whole Life Hanging Around With Arseholes
    The Organ – Sinking hearts

    or

    Buck 65 – Square Two
    RJD2 – Good Times Roll Pt.2 – Deadringer
    Dj Shadow – Blood on the Motorway

    sod it here’s a playlist that only I will enjoy.

  16. Much to dond above but can’t think of anything except Kylie and “Can’t Get You Out of my Head” – it was released the year before, but played a lot on the radio in 2002. I was pregnant with Sam and he used to kick along every time it came on. I used to tell him (i.e. the bump) that Kylie was too old for him.

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