“Black Water” was my most listened to song this year. Not sure what that says about me.
2. PJ Harvey Let England Shake
It took me awhile to “get” Let England Shake. The song that did it was “In Dark Places.”
3. Chad VanGaalen Diaper Island
If you told me at the start of the year that CVG would create my third-most favourite album of 2011 I’d have eaten my shoe. It’s a good thing I don’t hang around with fortune tellers. This is “Blonde Hash”
Everybody’s all about Austra’s electro-dance-witch-goth vibe. I’m on it, too, but the song on this album that really got me was the spooky piano ballad “The Beast.”
5. Lykke Li Wounded Rhymes
“I Follow Rivers” is heavy.
6. Young Galaxy Shapeshifting
This album was a bold experiment and it completely worked. This is “Peripheral Visionairies”
7. Herpes Symptome und Beschwerden
This is the exact real world manifestation of what I believe the nihilists from The Big Lebowski would sound like. I understand absolutely none of what’s being said in “Das Karnickel im Hut.”
8. D-Sisive Run With The Creeps
The more caustic, outsider and marginalized D-Sisive gets, the more pointed his music becomes. P.S. I found that GG Allin doll, D!
9. Raphael Saadiq Stone Rollin’
There are at least three songs on this record that are genuinely magic. “Movin’ Down The Line (Don’t You Go Away)” is one of them.
10. Destroyer Kaputt
This one’s a personal shocker because I’ve always hated Dan Bejar until this album. I appreciated the audacity of a yacht rock almost-concept record, though. And “Chinatown” is pretty groovy.
Other album lists…
2015 Top Ten — SUUNS + Jerusalem In My Heart SUUNS + Jerusalem In My Heart is #1 2014 Top Ten — Sharon Van Etten’s Are We There is #1 2013 Top Ten — M.I.A.’s Matangi is #1 2012 Top Ten — Dirty Ghosts’ Metal Moon is #1 2011 Top Ten — Timber Timbre’s Creep On Creepin’ On is #1 2010 Top Ten — The Black Angels’ Phosphene Dream is #1 2009 Top Ten — Gallows’ Grey Britain is #1 2008 Top Ten — Portishead’s Third is #1 2007 Top Ten — Joel Plaskett Emergency’s Ashtray Rock is #1 2006 Top Ten — My Brightest Diamond’s Bring Me The Workhorse is #1 2005 Top Ten — Black Rebel Motorcycle Club’s Howl is #1 2004 Top Ten — Morrissey’s You Are The Quarry is #1 2003 Top Ten — The Dears’ No Cities Left is #1 2002 Top Ten — Archive’s You All Look The Same To Me is #1 2001 Top Ten — Gord Downie’s Coke Machine Glow is #1 2000 Top Ten — Songs: Ohia’s The Lioness is #1 1999 Top Ten — The Boo Radleys’ Kingsize is #1 1998 Top Ten — Baxter’s Baxter is #1 1996 Top Ten — Tricky’s Maxinquaye is #1
1. Morrissey You Are The Quarry
2. The Veils The Runaway Found
3. The Organ Grab That Gun
4. Arcade Fire Funeral
5. Feist Let It Die
6. Apostle Of Hustle Folkloric Feel
7. Jens Lekman When I Said I Wanted To Be Your Dog
8. By Divine Right Sweet Confusion
9. The Golden Dogs Everything In 3 Parts
10. The Dears Thank You Good Night Sold Out
There are a number of naggingly unsatisfying inclusions on this year’s list.
I don’t particularly go back to Morrissey’s You Are The Quarry much these days, but at the time it ranked as an amazing comeback record after a couple crappers from the Moz. So that would have been more than enough for a Smiths/Morrissey fan like myself to push it to top spot.
Morrissey “First Of The Gang To Die.” This might be the Moz at his storytelling best:
Coming in second this year was The Veils’ The Runaway Found. This is a great band who’ve been criminally slept on over the years. With them and Moz, Jens, The Dears and The Organ all on my list there was clearly a vibe I was feeling in ’04. I’m not sure what that might be, maybe morbid melodrama?
The Veils “Lavinia”:
Putting The Organ’s Grab That Gun at #3 feels like a bit of a cheat considering I put their Sinking Hearts EP on my Top 10 the year before. I’m going to chalk putting this one so high up to me projecting — hoping that The Organ would be to the world what I thought Moz and The Veils were as well.
The Organ “Memorize The City”:
That Arcade Fire Funeral record was like a bolt of lightning, wasn’t it? I mean, seriously, who knew those guys were going to hit the grand slam and turn every indie band for the next five years into gang-singing, handclapping 13-member art collectives? Nowadays, knowing more about their prep school backgrounds and natural entitlements, there’s a certain realization that I don’t really identify with the Arcade Fire at all, but I still have to admit they can create some compelling music.
Arcade Fire “Wake Up”
Putting Feist’s Let It Die at #5 was probably an error on my part brought on by the fact that my friend and co-worker Chris Burland had put out her previous album Monarch on his label and I would’ve felt a vague desire to be supportive. I like two songs on this album — “Mushaboom” and the Bee Gees cover “Inside And Out.” That shouldn’t have been enough for this album to place where it did.
Feist “Inside And Out”:
I never listen to Apostle Of Hustle Folkloric Feel any more. I haven’t even ripped it into iTunes so I’m going to guess I was getting a little swept up in the rise of Broken Social Scene at the time and it was clouding my perspective.
At #7 was Jens Lekman’s When I Said I Wanted To Be Your Dog. I’m not really sure why I put this on my list. I don’t really like this album all that much and it’s actually Lekman’s next album Night Falls Over Kortedala that I was really into.
I’ve steadfastly maintained that By Divine Right remain one of the most important Canadian bands of the last 20 years and putting their album Sweet Confusion at #8 was a small gesture in support of that notion. Against the rest of their catalog this is one of their lesser albums — still good — but in hindsight Sweet Confusion’s inclusion on my list feels too political now.
By Divine Right “Soft Machine”
The Golden Dogs’ Everything In 3 Parts was a very exciting record for our household when it came out. They were a great band live, they were fun people to be around, and the album was solid, too. I’m still not entirely sure why they never got bigger than they did, but this was still a great ride to be on at the time.
The #10 pick The Dears’ Thank You Good Night Sold Out is kind of embarrassing to me. The Dears were probably my favourite Canadian band right around then (and might still be now), but this is a live record. I don’t really listen to it any more, and didn’t really listen to it that much when it came out. Nowadays I’m far more ruthlessly clinical about my Top 10 lists and putting this on the 2004 list has a certain cute “Aw shucks” loyalty that I don’t know if I’ve “lost,” but I don’t quite let rule me in the same way any more.
Other album lists…
2015 Top Ten — SUUNS + Jerusalem In My Heart SUUNS + Jerusalem In My Heart is #1 2014 Top Ten — Sharon Van Etten’s Are We There is #1 2013 Top Ten — M.I.A.’s Matangi is #1 2012 Top Ten — Dirty Ghosts’ Metal Moon is #1 2011 Top Ten — Timber Timbre’s Creep On Creepin’ On is #1 2010 Top Ten — The Black Angels’ Phosphene Dream is #1 2009 Top Ten — Gallows’ Grey Britain is #1 2008 Top Ten — Portishead’s Third is #1 2007 Top Ten — Joel Plaskett Emergency’s Ashtray Rock is #1 2006 Top Ten — My Brightest Diamond’s Bring Me The Workhorse is #1 2005 Top Ten — Black Rebel Motorcycle Club’s Howl is #1 2004 Top Ten — Morrissey’s You Are The Quarry is #1 2003 Top Ten — The Dears’ No Cities Left is #1 2002 Top Ten — Archive’s You All Look The Same To Me is #1 2001 Top Ten — Gord Downie’s Coke Machine Glow is #1 2000 Top Ten — Songs: Ohia’s The Lioness is #1 1999 Top Ten — The Boo Radleys’ Kingsize is #1 1998 Top Ten — Baxter’s Baxter is #1 1996 Top Ten — Tricky’s Maxinquaye is #1
1. The Dears No Cities Left
2. Songs: Ohia The Magnolia Electric Co
3. Metric Old World Underground, Where Are You Now?
4. The Coral Magic And Medicine
5. Sixteen Horsepower Olden
6. Danko Jones We Sweat Blood
7. Gord Downie Battle Of The Nudes
8. The Organ Sinking Hearts
9. Radiohead Hail To The Thief
10. Geoff Berner We Shall Not Flag Or Fail, We Shall Go On To The End
I must say, this is a mighty great year.
My #1 record this year was No Cities Left and it still holds up just as well all this time later. “Lost In The Plot” was the big single, a signature song which I love, but it was the double-shot epic tracks “Expect The Worse/Cuz She’s A Tourist” and “Pinned Together, Falling Apart” which really did it for me. They’re epic, sophisticated and they rock, all while maintaining their uniquely “Dears” narratives. These two songs done live at the time were particularly amazing, as they’d get stretched out into trance-like adventures. “Don’t Lose The Faith,” “Warm And Sunny Days,” “Never Destroy Us”… I know these songs inside out. Within the confines of “Canadian rock” or “Canadian indie” or whatever descriptive you want to use this remains one of the best records of the last decade.
The Dears “Pinned Together, Falling Apart”:
It would’ve been a heated internal debate for me at the time to put Songs: Ohia The Magnolia Electric Co. at #2. This was the transition record where Jason Molina, the mostly one-man band as Songs: Ohia became Magnolia Electric Co., a down-to-earth trucker-rock band in the vein of Crazy Horse. The change was weird to take at first, but over time the songs on this album emerged and they’re heart-striking works. There’s an internal struggle going on in this album that’s both intimately personal and universal to the human experience.
I love the playing around with the classic song trope of John Henry doing something. Songs: Ohia “John Henry Split My Heart”:
Ah, Metric’s Old World Underground, Where Are You Now? We were so young and innocent and unaware of Emily Haines’ prickly fits back then. It was all about dancing along to “Dead Disco” late at night. If time had stopped and Metric never did anything else ever the world would’ve probably been a better place.
Metric “Dead Disco”:
The Coral’s Magic And Medicine remains a totally slept on record here in the North of America. This record’s so hard to define. It’s sort of triangulated by the works of The Boo Radleys and Space, but at the same time remain totally outside of their worlds.
The Coral “Talking Gypsy Market Blues,” their slight Dylan return:
Clearly 2003 was the year I finally understood Sixteen Horsepower. Olden was a compilation record made up of a few different EPs, which usually makes for uneven listening, but I was completely shook and I now follow the works of band leader David Eugene Edwards closely. Olden is also one of the records that has helped me become more self-aware about the music I like. It’s not necessarily about genre anymore, but rather about intensity, purpose, gravity. I no longer care about half-measures and comfortable singalong songs. If I can’t see through to your soul in your music you’re just a circus performer.
Sixteen Horsepower “American Wheeze”:
It takes a lot for me to consider a song a match for the best of the Thin Lizzy catalog, but for simple balls-out rockers Danko Jones’ “I Love Living In The City” from We Sweat Blood is right up there.
Danko Jones “I Love Living In The City”:
My affection for Gord Downie’s solo work would continue with Battle Of The Nudes. It wasn’t quite the speak-to-me album that Coke Machine Glow was, but I still consider it a bold and brave work, complete with Sonic Youth moments and weird punk diversions. Downie could easily play out his career doing cash register rock in The Tragically Hip, but he continues to go for it. These are the ideals I respect in musicians.
Gord Downie “Pascal’s Submarine.” Not my favourite track on the record, but this album’s not well-youtubed.
I’m kinda bummed The Organ didn’t quite rule the world like I thought they would, but Sinking Hearts is still solid in a hey-it’s-the-girl-Smiths way. Haters on this EP were weird. It may not be perfect but it’s got passion.
Radiohead Hail To The Thief at #9? I think I let myself be run over by the hype train on this one. I never listen to Radiohead anymore and if I do, it’s certainly not this album.
Geoff Berner We Shall Not Flag Or Fail, We Shall Go On To The End was a pretty unexpected inclusion for me because, well, let’s face it, I’m not known as a klezmer-punk kinda guy. How We Shall Not Flag gets me is with the storytelling. “Volcano God” is brilliant and beautiful and “Maginot Line” is a valuable life lesson.
Geoff Berner “Maginot Line”:
Other album lists…
2015 Top Ten — SUUNS + Jerusalem In My Heart SUUNS + Jerusalem In My Heart is #1 2014 Top Ten — Sharon Van Etten’s Are We There is #1 2013 Top Ten — M.I.A.’s Matangi is #1 2012 Top Ten — Dirty Ghosts’ Metal Moon is #1 2011 Top Ten — Timber Timbre’s Creep On Creepin’ On is #1 2010 Top Ten — The Black Angels’ Phosphene Dream is #1 2009 Top Ten — Gallows’ Grey Britain is #1 2008 Top Ten — Portishead’s Third is #1 2007 Top Ten — Joel Plaskett Emergency’s Ashtray Rock is #1 2006 Top Ten — My Brightest Diamond’s Bring Me The Workhorse is #1 2005 Top Ten — Black Rebel Motorcycle Club’s Howl is #1 2004 Top Ten — Morrissey’s You Are The Quarry is #1 2003 Top Ten — The Dears’ No Cities Left is #1 2002 Top Ten — Archive’s You All Look The Same To Me is #1 2001 Top Ten — Gord Downie’s Coke Machine Glow is #1 2000 Top Ten — Songs: Ohia’s The Lioness is #1 1999 Top Ten — The Boo Radleys’ Kingsize is #1 1998 Top Ten — Baxter’s Baxter is #1 1996 Top Ten — Tricky’s Maxinquaye is #1
1. Archive You All Look The Same To Me
2. Cooper Temple Clause See This Through And Leave
3. Young And Sexy Stand Up For Your Mother
4. Queens Of The Stone Age Songs For The Deaf
5. Danko Jones Born A Lion
6. The Guthries The Guthries
7. Songs: Ohia Didn’t It Rain
8. Lindi The Taste Of Forbidden Fruit
9. Flaming Lips Yoshimi Battles The Pink Robots
10. Burning Brides Fall Of The Plastic Empire
Looking back at my Top 10 albums of 2002 I get an almost inverse feeling about most of them compared to my 2001 list. I look up and down and clinically go, yeah, these are good records, but few of them have actually continued to stick with me. The most damning thing? Only three of the 10 I had bothered to rip into iTunes prior to doing this exercise (Cooper, Danko, S:O).
Putting Archive’s You All Look The Same To Me at #1 is kind of embarrassing to me now. It’s purely a contrarian, better-than-you choice. At the time few people knew who Archive were, and fewer had actually listened to the sprawling Pink Floyd-inspired trance rock of You All Look The Same To Me. In a way, that kind of made them all my own, and that was apparently enough to make them toppers. I don’t hate this album by any means, and it’s still a Top 10, but it’s certainly no longer a #1 in my heart and I never go back to it listening-wise.
Archive “Again”:
Cooper Temple Clause’s See This Through And Leave is another album that I rarely go back to. I must have been in a bit of a new-prog phase with them and Archive topping this list, because they pretty much sound alike.
Cooper Temple Clause “Murder Song.” This is a heavy trip:
I’m reasonably certain I’m the only person in the world who declared Young And Sexy’s Stand Up For Your Mother the third best album of 2002. Almost a decade later I don’t know why I did this. Weakness of character?
Whoo! The Rawk! Now, this album maintains. Queens Of The Stone Age’s Songs For The Deaf continues to be one of the few rare “mainstream” rock records of the last decade that doesn’t utterly suck. I don’t know if that’s the music industry’s fault, some sort of lowered expectations or what, but in my world, a great rock record’s got to at least compare to The Who’s Who’s Next? You don’t have to match it, but you at least have to try. Default records? Godsmack records? Those kinda bands, that’s not trying.
Queens Of The Stone Age “A Song For The Dead”:
I’ve always been a Danko Jones supporter, but on careful consideration I’m more of a single song fan — cherry-picking specific tracks of his that I think rule, rather than digging his albums. I know why I put Born A Lion on this list, it’s because Danko finally had an album out after so many years of dancing around the idea of doing so. Most of these songs are DNA to me, I know them by heart, and I maintain this record is house party gold. Is it #5 of 2002, though? I wasn’t certain, but as of writing this and re-listening to the record, the answer’s yes.
At #6 I put The Guthries’ self-titled album. This record’s most notable in Can-rock lore because it features Matt Mays. I never go back to it, though, and hindsight is telling me I put it on the list as a better-than-you pick. I hope I don’t do that anymore.
Now, at #7 I put Songs: Ohia’s Didn’t It Rain. This record has some talking points. If I was to retabulate this list today this would be my undisputed #1 album of 2002, but at the time I was somewhat sheepish about my obvious Jason Molina fandom at the time (nowadays, if I feel “fan-ish” at all over a record I ride that wave like nobody’s business — it’s proof I’m not dead inside).
Anyway, there’s a peculiar flipside to this album. When I first listened to it I didn’t really understand it all that well. See, Didn’t It Rain is close to one of the heaviest, gnarliest, deepest gut-wrenching journeys into depression ever recorded. I missed many of these very obvious themes when I first got this record and it’s only now over the years that I’ve been able to figure it all out.
Which brings me to another point — I rarely listen to this record any more. On purpose. I’ve come to believe it’s got a bit of a mystical hold on me where if I listen to these songs I get in a sympathetic mindframe and I start feeling a little darker in the soul. It’s a subtle, toxic chemical reaction, a dangerous audio drug that one has to be most careful with.
Songs: Ohia “Steve Albini’s Blues.” Consume this at your own risk:
At #8 would be Lindi’s The Taste Of Forbidden Fruit. This would be Lindi Ortega, the now-country singer of (relative) little red boots fame. Back in 2002 she was a smoking hot cabaret minx who did songs with titles like “Naughty Little Thing,” “Lipstick Traces” and “Sweet Jezebel.” I liked this Lindi more than the one who’s taking advice on how to get her albums distributed in Wal-Marts.
I realize now why I’ve never ripped The Flaming Lips’ Yoshimi Battles The Pink Robots into iTunes — it’s because it had copy-protection that used to prevent doing so. Shocking how I was able to live without listening to this record for 10 years because of a minor technical inconvenience. That’s why the music industry died.
The Flaming Lips “Do You Realize??”
Filling the last spot on the list was Burning Brides’ Fall Of The Plastic Empire. I distinctly remember being undecided about whether or not to include this on the list, but I can’t remember who the other potential choice was. Which I guess means I made the right decision.
Other album lists…
2015 Top Ten — SUUNS + Jerusalem In My Heart SUUNS + Jerusalem In My Heart is #1 2014 Top Ten — Sharon Van Etten’s Are We There is #1 2013 Top Ten — M.I.A.’s Matangi is #1 2012 Top Ten — Dirty Ghosts’ Metal Moon is #1 2011 Top Ten — Timber Timbre’s Creep On Creepin’ On is #1 2010 Top Ten — The Black Angels’ Phosphene Dream is #1 2009 Top Ten — Gallows’ Grey Britain is #1 2008 Top Ten — Portishead’s Third is #1 2007 Top Ten — Joel Plaskett Emergency’s Ashtray Rock is #1 2006 Top Ten — My Brightest Diamond’s Bring Me The Workhorse is #1 2005 Top Ten — Black Rebel Motorcycle Club’s Howl is #1 2004 Top Ten — Morrissey’s You Are The Quarry is #1 2003 Top Ten — The Dears’ No Cities Left is #1 2002 Top Ten — Archive’s You All Look The Same To Me is #1 2001 Top Ten — Gord Downie’s Coke Machine Glow is #1 2000 Top Ten — Songs: Ohia’s The Lioness is #1 1999 Top Ten — The Boo Radleys’ Kingsize is #1 1998 Top Ten — Baxter’s Baxter is #1 1996 Top Ten — Tricky’s Maxinquaye is #1
1. Gord Downie Coke Machine Glow
2. The Strokes Is This It
3. By Divine Right Good Morning Beautiful
4. The Avalanches Since I Left You
5. Ours Distorted Lullabies
6. Black Rebel Motorcycle Club BRMC
7. The Dears Orchestral Pop Noir Romantique
8. Spiritualized Let It Come Down
9. Ashley Park The American Scene
10. The Constantines The Constantines
Since I started unearthing these Top 10 lists a week or so ago this is probably the first I’ve felt close to entirely comfortable with.
My #1 album in 2001 was Gord Downie’s Coke Machine Glow and I continue to maintain it’s a brilliant Cancon canon album. I think I might have even given it a 5 out of 5 rating at the time, which is something I’ve done max 10 times in my years of music writing. What’s so special about Coke Machine Glow is it’s so guilelessly “art.” The fact that it was a solo album by the lead singer of a beer-rock arena-level band was secondary. Here, Downie dove deeply into his poetic narratives and then surrounded those stories with alternately beautiful/weird/exciting complimentary music courtesy of The Diner Is Ruined and a cast of related Can-indie veterans. This is the album that proved that Downie was definitively on the side of good.
Gord Downie “Chancellor”:
Everybody had Strokes fever back in 2001 and it was totally deserved. Is This Is? was a super-relentless dance party. It was bold and free and it’s still a great listen today, which is more than I can say for every other Strokes record. It’s funny, I got this record, Spiritualized’s Let It Come Down and Mercury Rev’s All Is Dream on the same day and I remember the V2 Records rep at the time being mad that nobody cared about All Is Dream, but why would they? There were two other nuclear bomb statement albums on everyone’s desks.
“Last Nite,” if you’ve never wildly danced to this song at a club you’ve been at the wrong clubs:
I love By Divine Right and consider them one of the under-appreciated pillars of Canadian indie rock, so I was pretty excited when Good Morning Beautiful came out. In hindsight is more “good” than “great” an album — still Top 10, but probably lower. I would’ve ranked it this high at the time because of the epic hippie jam “Hugger Of Trees.” It’s a song that can cut through all my layers of Grinch.
By Divine Right “Hugger Of Trees”:
Man, The Avalanches’ Since I Left You. Four billion samples, legal bullshit, mystery… none of which matters because if you know this album at all and I say the words “Radio,” “Flight Tonight” or “Frontier Psychiatrist” you should be experiencing an immediate Pavlovian reaction.
The Avalanches “Since I Left You”:
The voice of Jimmy Gnecco from Ours remains one of the most powerful, most chilling things I’ve ever heard. When Ours’ Distorted Lullabies came I out I was convinced they were going to become the biggest band in the world. I’m not sure why they didn’t. I suspect drugs, record company bullshit, band troubles, etc., etc. — the usual stuff — all had a hand in it. Mostly though, I’ve come to learn over the years that most people don’t actually like intense music. They can’t handle the emotional gravity of it all and just want something to hum along to. In the grand scheme that’s probably why Ours never hit it. It’s the world’s loss.
Ours “Meet Me In The Tower”:
Black Rebel Motorcycle Club are the perfect rock band. They’ve got black leather jackets, their music’s kinda noisy and dangerous, and the band members themselves are often difficult mumblers. Which all makes them hella cool.
Black Rebel Motorcycle Club “Spread Your Love.” I was at this “video shoot,” which wasn’t really a video shoot so much as a proper concert with pro cameras capturing everything:
This would be the second year in a row I had The Dears in the #7 spot, this time for Orchestral Pop Noir Romantique. The best thing about this EP is it gave the band an identity. Something that was theirs alone — which is extremely underrated a commodity in the music universe. This was the dangle that made people want to know more.
The Dears “Autotomy”:
At #8 was the aforementioned Spiritualized record Let It Come Down. This was supposed to be super-huge and it was. Something like 115 people worked on this record and it shows.
Spiritualized “Out Of Sight.” Fuck, this song’s big:
And in every Top 10 list there must be something you no longer care about. For this one it would be Ashley Park’s The American Scene. I remember really digging on this album when it came out, but I’ve never been back to it. And in the sign of true listener death for me — I haven’t bothered to rip the album into iTunes.
I haven’t ripped #10 into iTunes either. That would be The Constantines debut album. I feel no need or desire to revisit this record. I rode that hype train at the time, and enjoyed parts of that journey, and that’s enough.
Other album lists…
2015 Top Ten — SUUNS + Jerusalem In My Heart SUUNS + Jerusalem In My Heart is #1 2014 Top Ten — Sharon Van Etten’s Are We There is #1 2013 Top Ten — M.I.A.’s Matangi is #1 2012 Top Ten — Dirty Ghosts’ Metal Moon is #1 2011 Top Ten — Timber Timbre’s Creep On Creepin’ On is #1 2010 Top Ten — The Black Angels’ Phosphene Dream is #1 2009 Top Ten — Gallows’ Grey Britain is #1 2008 Top Ten — Portishead’s Third is #1 2007 Top Ten — Joel Plaskett Emergency’s Ashtray Rock is #1 2006 Top Ten — My Brightest Diamond’s Bring Me The Workhorse is #1 2005 Top Ten — Black Rebel Motorcycle Club’s Howl is #1 2004 Top Ten — Morrissey’s You Are The Quarry is #1 2003 Top Ten — The Dears’ No Cities Left is #1 2002 Top Ten — Archive’s You All Look The Same To Me is #1 2001 Top Ten — Gord Downie’s Coke Machine Glow is #1 2000 Top Ten — Songs: Ohia’s The Lioness is #1 1999 Top Ten — The Boo Radleys’ Kingsize is #1 1998 Top Ten — Baxter’s Baxter is #1 1996 Top Ten — Tricky’s Maxinquaye is #1
Risky Fuel 