Top 5 - Joann Ball
1) Lauryn Hill, The Miseducation of Lauryn Hill (Ruffhouse/Columbia). Lauryn Hill struck out on her own and hit the mother lode. On her debut solo release The Miseducation of Lauryn Hill, Lady Miss Fugee acknowledges a rich musical past while suggesting creative and innovative possibilities for the future of popular music. Combining the best elements of R&B, hip-hop, reggae, rock and world beat, Hill passionately sings and raps about life, love and happiness. An extremely honest, sincere, and at times deeply personal record, it is a fresh and inspiring urban masterpiece which ranks right up there with Stevie Wonder's classic "Songs in the Key of Life." Featuring such gems as the reflective "Every Ghetto, Every City" (the 1998 Black female version of Wonder's unforgettable "I Wish") and the sassy hit single "Doo Wop (That Thing), Hill's record outshines the competition with its depth, complexity and brilliance. Billboard recently named The Miseducation of Lauryn Hill the R&B Album of the Year, but I consider this wise, passionate and street smart smash the record of the year.
2) Garbage, Version 2.0 (Almo Sounds). Version 2.0. is the flawless sophomore release from Garbage, a band which has quickly established itself as a progressive tour de force in rock music. Singer/songwriter Shirley Manson and her studiofile bandmates Butch Vig, Duke Erikson and Steve Marker skillfully enhance the basic guitar, bass, keyboards and drums configuration with loops, effects and scratching. Finding additional value in the stylings of electronica, techno and hip-hop, Garbage incorporates these musical approaches into the aggressive, futuristic edge that defines their unique sound. Whether delivering homegrown tracks like "When I Grow Up" and ""Dumb," interpolating the Beach Boys on the single "Push It," or giving big time props to Pretender Chrissie Hynde on "Special," no other band has so successfully recycled influences and sounds like Garbage.
3) Goo Goo Dolls, Dizzy Up the Girl (Warner Bros.). It took a while, but the Goo Goo Dolls have finally arrived. After a decade of slogging it out in the alternative rock trenches, the Goo Goo Dolls broke through in a big way this year with "Iris" from the City of Angels soundtrack. Carrying that song and its success over to Dizzy Up the Girl (album number six ), the band keeps the momentum going with the catchy upbeat pop of "Slide." The essence of the band remains intact on this record, particularly in singer/songwriter and guitarist John Rzeznik's slice of life account "Broadway" and on all of the songs contributed by bassist Robby Takac. More than either of the radio singles, it's these album cuts which provide undeniable proof that the Goo Goo Dolls are the rightful heirs to The Replacements.
4) The Church, Hologram of Baal (Thirsty Ear). In a recent interview with Consumable Online, guitarist Peter Koppes described The Church's sound as "progressive music for music aficionados [who] like the exotic and esoteric and like intelligent pop." That's the only way to describe Hologram of Baal, the band's eleventh release. The Church once again soars to magnificent heights on this record, especially on the soothing lead single "Louisiana," the rock solid "No Certainty Attached," and the ethereal "Anaesthesia." And for a sonic journey of epic proportions, get lost in Bastard Universe the limited edition bonus disc included with the first 5,000 copies of the release.
5) P.M. Dawn, Dearest Christian I'm So Very Sorry For Bringing You Here Love Dad (Gee Street/V2). P.M. Dawn's fourth record, Dearest Christian, I'm So Very Sorry For Bringing You Here, Love, Dad, was released just weeks ago, but it is definitely one of the best records of 1998. On this soon-to-be classic, Prince Be explores the highs and lows of being a father in a messed up world and finds meaning in his own life in the process. On this concept album of Pet Sounds proportions, Prince Be and J.C./The Eternal make full use of the studio to produce a clear, rich and layered sound that emphasizes live instruments and lush orchestration. This time around, P.M. Dawn incorporate creative samples into the songs instead of letting borrowed sounds drive the melodies, and Prince Be showcases his sweet, soulful voice by singing rather than rapping most of the deeply insightful lyrics. P.M. Dawn take their musical bliss to an even higher level on all 13 of the songs here. From the beautifully tender title track (and first single), to the rock infused "Art Deco Halos" and "Hale-Bopp Regurgitations," this record is filled with passion and emotion making Dearest Christian... a musical experience for 1998 and beyond.
