The 2000's was a decade marked by economic fluctuation, pharmaceutical emotional-suppression and easy weight-loss diets.
It was also the time for some really incredible music to be released. Here are the top 10 albums of the 2000s as decided upon by “The Woove” editorial board — Peter Tesh, Chelsea Kilburn, Ben Woody, Stu Ruiz, Elizabeth Spencer, Alex Tallant and Matt Clark.
1. THE STROKES — “IS THIS IT?” (2001)
You could probably trace the explosion of the ’60s rock throwback movement back to the hype surrounding this New York quintet.
Its reputation is well deserved, as these songs are reckless and skuzzy with lyrics to match from frontman Julian Casablancas. The overall effect of the sound is that the album emanates cool — the kind of cool that likely drove leather jacket sales to record highs for a few years.
This album isn’t just about debauchery and the occasional worldly musings that come afterward; it’s about the music.
Every song is made up of extremely simple parts, but they’re put together in ways that make songs that may have been done a million times before sound completely fresh.
This album may not be the most original sounding one, but there’s a level of craftsmanship rare in most garage bands. So maybe “Is This It?” didn’t change the rock world in the long term, but it was the
closest we got this decade.
— Stu Ruiz
2. RADIOHEAD — “KID A” (2000)
There’s nothing to say about this album that you haven’t already heard. You know, just that “Kid A” is the euphonic manifestation of the predicted chaos that did not happen as we rang in the new
millennium.
Paranoia, discomfort and incoherence echo throughout the album and congeal with the metallic tone of the music.
Take a deep breath. Just marinate in that. Yeah, this is what Radiohead is making you do with this album.
This is “Kid A.”
— Matt Clark
3. TV ON THE RADIO — “RETURN TO COOKIE MOUNTAIN” (2006)
The New York-based TV on the Radio is just messing with you with its third album, “Return to Cookie Mountain.”
What genre don’t they sample? The general rules of genre-bending: First, leave it to Radiohead. Second, the more genres, the worse it is. (See “post-avant-electro-prog-punk rock.”) But TV on the Radio has the formula figured out.
Tracks such as “I Was a Lover” and “Wolf Like Me” prove that “Return to Cookie Mountain” was not built for little iPod headphones. Honestly, I’m not sure if there is a system that does this work of art justice.
You will dance. You will rock. You will swing, sway, swoon and sweep your bad day under the carpet when you hear this album. Who do we thank for such a unique sound?
— Ben Woody
4. WILCO — “YANKEE HOTEL FOXTROT” (2002)
Wilco’s fourth album really drives home the essence that is, you know, Wilco. Its struggle for self-worth, the analysis of romance and even its sarcastic perception of religion are all motifs you will find throughout its work, but you’ll definitely notice it here.
Songs such as “I Am Trying to Break Your Heart,” “Jesus, Etc.” and “Heavy Metal Drummer” examine the conscious human experience. I’d be lying if I said it wasn’t easy to describe its themes.
Wilco’s legacy has its roots in this album. Jeff Tweedy and company don’t rest on its laurels, but work harder to build on its reputation as one of the best bands of this decade.
— Ben Woody
5. TOM WAITS — “BLOOD MONEY” (2002)
Disclaimer: This album’s genre is unclassifiable. “Blood Money” compiles elements of jazz and blues, among others, to craft a summary of the musical innovation of the 20th century. The level of craftsmanship in his songwriting is unparalleled in his capability to incorporate various styles of music.
His blunt, minimalist lyrics leave but one question to his audience: How come nobody said this earlier?
“If there’s one thing you can say about mankind / There’s nothing kind about man.” His cynical, transcendentalist axioms drive this album to greatness. Tom Waits is the greatest songwriter of this century thus far.
— Matt Clark
6. JAY-Z — “THE BLUEPRINT” (2001)
It’s not secret that 2001 was a tumultuous year for Jay-Z. With criminal trials pending and fellow rappers dissing, Jay-Z wasn’t getting any love from anyone, not even in the heart of New York City.
Jay-Z’s The Blueprint went live on Sept. 11, 2001.
Despite its release in the shadow of the worst terrorist attack on the United States, the album received intense critical acclaim. It samples the likes of Slick Rick, David Bowie, and even The Doors. It publicly disses Nas and Prodigy of Mobb Deep. It is revolutionary.
With its radio-friendly nature, far-reaching samples and revolutionary diss tactics, “The Blueprint” remains one of the greatest hip-hop albums of all time.
— Ben Woody
7. KANYE WEST — “LATE REGISTRATION” (2005)
Kanye did not fall prey to the typical rapper’s sophomore slump, but instead outdid himself with his sleek multi-faceted second album, “Late Registration.” How can you do wrong when you’re a musical genius?
Collaborating with producer Jon Brion, Kanye pushed the boundaries of the rap and hip-hop genre in the yearlong production of this album.
It’s also a wonderful album packed with sharp criticism for his contemporary social climate.
“Gold Digger” and “Touch the Sky” especially stand out, but with each song different from the one before, the entire album is worth an attentive listen
— Staff
8. RADIOHEAD — “IN RAINBOWS” (2007)
Radiohead again?
If this list displayed the top albums of the 1960s, multiple Beatles’ albums would make the list.
Radiohead is the equivalent of The Beatles for the decade.
This album takes another direction in the band’s history of ever-changing musical landscapes. In this case, electronically fused alternative rock designed for digital consumption for the price of a donation. Aside from being a musical masterpiece, this album shows the trivial role major record labels play in marketing.
There is not a single track on this album below excellence.
Thank you Radiohead, this album is “All I Need.”
— Staff
9. MODEST MOUSE — “THE MOON & ANTARCTICA” (2000)
“Good News for People Who Love Bad News” gave us some polished, radio-ready gateway to the Modest Mouse experience. This overexposure for the band was a nightmare, especially given the band had just received immense critical acclaim for its third studio album, “The Moon & Antarctica.” This album offers more than simply a less sterile production environment from its preceding album.
Explorations into existence, life, death and the great beyond define this album. The music is all but simple as atmospheric sections are contrasted with much more lively marches and spastic vocals from Isaac Brock. The result of such diligence yields a homerun, and Modest Mouse hits its ponderous ball right out of the park for all fans to watch fly out with eyes wide and jaws dropped.
Though generally a hard pill for the common music fan to swallow, this album has a massive appeal to those musicians looking for new approaches to rock music, both structurally and proximately.
This album is Modest Mouse’s magnum opus, and that’s saying a whole lot.
— Staff
10. ARCADE FIRE — “FUNERAL” (2004)
The Arcade Fire’s acclaimed album definitely deserves all the hype it has received — after all, the love is still rolling in the six years after its release.
Supposedly based on the process of coping with the death of family members, the aptly titled album presents a fantastic journey through hand clapping, ominous guitars and gruff vocals. The “Neighborhood” tracks truly grip the listener with its sorrowful lyrics yet operatic style, which surprisingly doesn’t come off as over-the-top, but rather as a wonderfully executed work of art and sound.
Even though “Neighborhood #2 (Laika),” “Rebellion (Lies)” and “Wake Up” have garnered the most attention, “Haiti” and “Une Annee Sans Lumiere” offer an equally beautiful, delicate blend of English and French. “Haiti” especially incorporates an eerie contrast to the rest of the album. The final track on “Funeral,” “In the Backseat,” completes the album with its fading strings that make it seem impossible for the band to produce another album with such intensity. Still, the group strikes gold again and manages to achieve the same brilliance in its sophomore release, “Neon Bible.”
— Staff