Best CDs of 1997 by Seth Rogovoy

THE BEAT

Best CDs of 1997
by Seth Rogovoy
(WILLIAMSTOWN, Mass., Dec. 5, 1997) -- The Beat's annual list of the top 10 albums of the year makes no claims to objectivity. Rather, it reflects the wholly arbitrary preferences of one listener. Readers can therefore judge these selections accordingly, based on their relative experience with the critic's point of view.
And so, my favorite CDs of 1997 were:

1. Bob Dylan, "Time Out of Mind" (Columbia): No surprise here. In any ordinary year, even sub-par Dylan is better than 95 percent of the "product" released by the recording industry. It just so happens that this year we were treated to one of Dylan's greatest albums ever: a dark, haunting look at loneliness and mortality; a bitter, acerbic, intimate self-portrait; a major statement from our elder folk-rock statesman wrapped in blues-man's clothing.

2. Cornershop, "When I Was Born for the 7th Time" (Luaka Bop/Warner Bros.): As refreshingly post-modern and sample-heavy as anything by Beck while being firmly rooted in the vantage point of the outsider, this album by the Anglo-Indian outfit blends raga-rock, Velvet Underground drones and '70s funk with a sensibility that virtually defines state-of-the-pop 1997.

3.Yo La Tengo, "I Can Hear the Heart Beating As One" (Matador): Yo La Tengo updates its guitar-based, indie-rock sound to incorporate state-of-the-art percussion and electronic textures and grafts it all onto the catchiest hooks and melodies of its career on a sequence of songs that reads like a series of private letters between husband-and-wife duo Ira Kaplan and Georgia Hubley. Call it rock-as-eavesdropping.

4. Prodigy, "The Fat of the Land" (Maverick/Warner Bros.): Let the purists go ahead and fuss and whine about this not being genuine electronica but a watered-down, pop-rock version for the masses. Of course, that's exactly the point, which is what makes this so infectiously appealing. This is POP music, after all.

5. Ani DiFranco, "Living In Clip" (Righteous Babe): She still has to be seen to be believed, and maybe she always will, but this two- disk live set comes the closest so far to capturing on recording DiFranco's multi-faceted personality -- humorous, sexy, self- effacing -- to say nothing of delivering her primal folk-funk in its rawest, most stripped-down fashion.

6. The Klezmatics, "Possessed" (Xenophile): Since its beginnings, klezmer has always been a music that while rooted in tradition has spoken to its contemporary surroundings, and perhaps no current group in the tradition explores this dynamic as eloquently as the Klezmatics. This latest effort is almost operatic in scope, and while it may be too cutting-edge for purists, it's unlikely to leave any but the most closed-minded listeners behind.

7. Cliff Eberhardt, "12 Songs of Good and Evil" (Red House): Up and down the line, as a writer, guitarist, performer and vocalist, Eberhardt is the equal of any singer-songwriter in contemporary pop. On his latest and best effort, he gives his darker side free reign to explore itself with the aid of wit, intelligence and a rare, refreshing lack of self-righteousness.

8. David Bowie, "Earthling" (Virgin): While all the hype focused on U2's supposed embrace of electronica and the resultant flop of the group's flaccid "Pop," Bowie's own PAS DE DEUX with state-of- the-art dance rhythms was unjustly overlooked. "Earthling" is vintage Bowie, full of wrenching juxtapositions, surreal narratives and musical drama -- his best work in nearly 20 years.

9. Wolf Krakowski, "Transmigrations" (Kame'a): On paper it seems preposterous. Take old Yiddish folk, theater and pop tunes and set them down in roots-rock arrangements while remaining true to their melodies and Old World-spirit. With the aid of some incredibly talented and sympathetic musicians and through the sheer power of his timeless vocals, Northampton's Krakowski pulls it off, making for a startling fusion that flies in the face of logic and history.

10. Deb Pasternak, "More" (Signature Sounds): In the wrong hands, the jazz-folk bohemian thing can be a travesty. Boston's Deb Pasternak is a case study in how to do it right: with both feet planted firmly on the ground, with earthy sensuality to balance the poetic flights of fancy and with blues and rock instincts equal to the challenge. Of course, it helps if, like Pasternak, you're blessed with one of the most dynamically expressive voices in pop, period.

Also definitely worth checking out: Andy Statman, "Between Heaven and Earth" (Shanachie), Dan Bern, "Dan Bern" (Work), June Tabor, "Aleyn" (Green Linnet), Brooks Williams, "Seven Sisters" (Green Linnet), Dar Williams, "End of the Summer" (Razor and Tie).
Fred Eaglesmith, "Lipstick Lies and Gasoline" (Razor and Tie), Ben Folds Five, "Whatever and Ever Amen" (550 Music), Alicia Svigals, "Fidl" (Traditional Crossroads), Steve Earle, "El Corazon" (Warner Bros.).
Greg Brown, "Slant Six Mind" (Red House), David Byrne, "Feelings" (Luaka Bop/Warner Bros.), Leon Parker, "Belief" (Columbia), Charlie Chesterman, "Dynamite Music Machine" (Slow River).
[This column originally appeared in the Berkshire Eagle on Dec. 5, 1997. Copyright Seth Rogovoy 1997. All rights reserved.]

Seth Rogovoy
rogovoy@berkshire.net
music news, interviews, reviews, et al.

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	1. Bob Dylan, "Time Out of Mind" (Columbia): No surprise here. In any ordinary year, even sub-par Dylan is better than 95 percent of the "product" released by the recording industry. It just so happens that this year we were treated to one of Dylan's greatest albums ever: a dark, haunting look at loneliness and mortality; a bitter, acerbic, intimate self-portrait; a major statement from our elder folk-rock statesman wrapped in blues-man's clothing.
	2. Cornershop, "When I Was Born for the 7th Time" (Luaka Bop/Warner Bros.): As refreshingly post-modern and sample-heavy as anything by Beck while being firmly rooted in the vantage point of the outsider, this album by the Anglo-Indian outfit blends raga-rock, Velvet Underground drones and '70s funk with a sensibility that virtually defines state-of-the-pop 1997.
	3.Yo La Tengo, "I Can Hear the Heart Beating As One" (Matador): Yo La Tengo updates its guitar-based, indie-rock sound to incorporate state-of-the-art percussion and electronic textures and grafts it all onto the catchiest hooks and melodies of its career on a sequence of songs that reads like a series of private letters between husband-and-wife duo Ira Kaplan and Georgia Hubley. Call it rock-as-eavesdropping.
	4. Prodigy, "The Fat of the Land" (Maverick/Warner Bros.): Let the purists go ahead and fuss and whine about this not being genuine electronica but a watered-down, pop-rock version for the masses. Of course, that's exactly the point, which is what makes this so infectiously appealing. This is POP music, after all.
	5. Ani DiFranco, "Living In Clip" (Righteous Babe): She still has to be seen to be believed, and maybe she always will, but this two- disk live set comes the closest so far to capturing on recording DiFranco's multi-faceted personality -- humorous, sexy, self- effacing -- to say nothing of delivering her primal folk-funk in its rawest, most stripped-down fashion.
	6. The Klezmatics, "Possessed" (Xenophile): Since its beginnings, klezmer has always been a music that while rooted in tradition has spoken to its contemporary surroundings, and perhaps no current group in the tradition explores this dynamic as eloquently as the Klezmatics. This latest effort is almost operatic in scope, and while it may be too cutting-edge for purists, it's unlikely to leave any but the most closed-minded listeners behind.
	7. Cliff Eberhardt, "12 Songs of Good and Evil" (Red House): Up and down the line, as a writer, guitarist, performer and vocalist, Eberhardt is the equal of any singer-songwriter in contemporary pop. On his latest and best effort, he gives his darker side free reign to explore itself with the aid of wit, intelligence and a rare, refreshing lack of self-righteousness.
	8. David Bowie, "Earthling" (Virgin): While all the hype focused on U2's supposed embrace of electronica and the resultant flop of the group's flaccid "Pop," Bowie's own PAS DE DEUX with state-of- the-art dance rhythms was unjustly overlooked. "Earthling" is vintage Bowie, full of wrenching juxtapositions, surreal narratives and musical drama -- his best work in nearly 20 years.
	9. Wolf Krakowski, "Transmigrations" (Kame'a): On paper it seems preposterous. Take old Yiddish folk, theater and pop tunes and set them down in roots-rock arrangements while remaining true to their melodies and Old World-spirit. With the aid of some incredibly talented and sympathetic musicians and through the sheer power of his timeless vocals, Northampton's Krakowski pulls it off, making for a startling fusion that flies in the face of logic and history.
	10. Deb Pasternak, "More" (Signature Sounds): In the wrong hands, the jazz-folk bohemian thing can be a travesty. Boston's Deb Pasternak is a case study in how to do it right: with both feet planted firmly on the ground, with earthy sensuality to balance the poetic flights of fancy and with blues and rock instincts equal to the challenge. Of course, it helps if, like Pasternak, you're blessed with one of the most dynamically expressive voices in pop, period.