The soundtrack to the movie "O Brother, Where Art Thou?" has had steady sales since its release in December of last year. The album is a crossover hit that has reached quadruple-platinum status.

Gems shine in dull music year

A film soundtrack and a Sept. 11
tribute lead the way in 2001 CDs

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By Gary C.W. Chun
gchun@starbulletin.com

Even before the events of Sept. 11, 2001 was turning out to be a lackluster year for music. And music that came out after the terrorist attacks on the East Coast couldn't do anything to buoy the spirits of wounded Americans.

But the year was bookended by two releases that helped salvage the year. One was a film soundtrack album that transcended the country and bluegrass audience to be a bona fide crossover hit, the other a benefit soundtrack featuring musicians who came together for a televised concert a week or so after Sept. 11 to lend their talents to a benefit the victims and create a memorable evening for the millions that tuned in and gave from the heart.

Even though the soundtrack to "O Brother, Where Art Thou?" (Mercury Nashville) was released in December of last year, and long after the Coen brothers film had left theaters, the album continued to garner steady sales well into 2001, and has since attained quadruple-platinum status.

No one in their right mind would've thought that a compilation of prime, tradition-bound folk, country and bluegrass songs done by some of the genre's brightest lights could've connected with people across the board. Of course, when someone like George Clooney lip-synchs Dan Tyminski's rollicking vocal on "I Am a Man of Constant Sorrow" in the film, it couldn't help but pad album sales.

"Weezer: The Green Album" (Geffen)

Nevertheless, it's a wonderful album even apart from the film, and one I highly recommend if you haven't picked it up yet.

For me, the only album that really mattered that was released after Sept. 11 is "America: A Tribute to Heroes" (Joint Network Benefit). All of the telethon's musical performances are included on this two-disc set, and the royalties equal to the distributor's net proceeds from the sale of the set will benefit the Sept. 11 telethon fund.

We'll be hard-pressed to find a collection of performances, some of them career-defining, that were so heartfelt and inspired. Of an evening of so many highlights, artists of the caliber of Bruce Springsteen, Stevie Wonder, U2, Neil Young, Billy Joel and Paul Simon captured the gravity of the moment. Surprises, for me, included stirring performances by Faith Hill, Alicia Keys and, of all people, Celine Dion, whose powerful rendition of "God Bless America" with a backup gospel choir left me slack-jawed.

This was music to heal and comfort, and I admit, in light of the current mood of both the country and state, that's the kind of music that has appealed to me the most this year. I found much of the rock, rap, hip-hop and pop of 2001 bogged down by uninspired formulas. But here's the rest of what I liked:

>> "Vespertine" by Björk (Elektra): Hands down, my album of the year, and one I found enriching. She is the only artist I know who can triumphantly combine the technical, beat-driven sound of club music with more organic, traditional instrumentation and wrap it around that unique voice of hers. "Vespertine" is her most intimate-sounding work to date, spinning and casting a sparkly, comforting world that envelops the listener with warmth and care. A very private album with moments of absolutely luxurious sounds that captivates without sounding precious.

"Train Don't Leave Me: Recorded Live at the 1st Annual Sacred Steel Convention" (Arhoolie)

>> "Party Music" by the Coup (75 Ark): This politically charged party album by the Oakland rap/hip-hop duo busts out with an unrepentantly revolutionary spirit. And even though their message remains intact in the retro-beat street sound, they had the good sense to change the album's original artwork, which showed Boots and DJ Pam the Funktress in front of an exploding World Trade Center. Nevertheless, the thick slabs of funk get stirred up with Boots' raps that lays bare his communist and community activist political roots. An important album, if not for everybody.

>> "Sweet Tea" by Buddy Guy (Silvertone): Simply put, a killer of an album by the veteran bluesman, who left his Chicago home to make this primal, rural Mississippi recording. This is the blues of a man possessed, nothing genteel about it and all blood 'n guts. Raw is good, but made even better by Guy's authoritative gravity of a voice and scarifyin' guitar licks. Not for the faint of heart, and the best thing Guy has put out in years.

>> "Lady Day: The Complete Billie Holiday on Columbia 1933-1944" (Columbia/Legacy): The prime reissue box set of the year, handsomely designed and chock full of the jazz singer's early and pivotal work, spread out over 10 CDs, and worth every penny of its price ($169.97 list). I've been savoring this over the last week or so, and the woman's ability to make the weakest Tin Pan Alley song sound like it's the most beautifully written ever never fails to amaze me. Her vocal phrasing was truly unique. One can never have too much Billie Holiday in one's life!

>> "Satellite" by P.O.D. (Atlantic): I'm not the biggest fan of the glut of rap/metal that's out there, but this sophomore release by the Christian band surprised me with its musicality and spiritual conviction. The band is broad-thinking enough to include guest spots for a couple of reggae heavyweights, Eek-A-Mouse and H.R., he of the seminal metal/reggae band Bad Brains. And the group doesn't proselytize, letting religious beliefs instead infuse its music, and never laying on the message too thick.

Honolulu's Top Selling CDs Here is what Honolulu listeners were buying in 2001, based on sales at Tower Records Keeaumoku: 1. "Facing Future," by Israel Kamakawiwo'ole 2. "Alone in Iz World," by Israel Kamakawiwo'ole 3. "Survivor" by Destiny's Child 4. "All For You" by Janet Jackson 5. "Local Girls" by Keahiwai 6. "Nesian" by Pati 7. "Anthology II" by Na Leo Pilimehana 8. "Day Without Rain" by Enya 9. "Makaha Sons & Friends" by Makaha Sons 10. "Songs in A Minor" by Alicia Keys

>> "Train Don't Leave Me: Recorded Live at the 1st Annual Sacred Steel Convention" (Arhoolie): Speaking of the Holy Spirit, these live recordings of raw and unadorned gospel combined with the testifying sounds of the electric steel guitar (as commonly heard in services of the black Pentecostal churches across the mainland) are an ear-opening experience. Whether it's lap steel or pedal steel, the keening sound of these guitars can pierce the soul with a God-loving power. Songs of praise that'll make you rise out of your seat and do the eagle rock!

"Party Music," by The Coup (75 Ark)

>> "Maroon" by the Webb Brothers (Atlantic): My sleeper pick of the year is a gorgeous one, cinematic in scope. Take two expatriate progeny of Jimmy Webb, one of our country's finest pop songsmiths, relocate them to England, and out comes a remarkable and compelling work of grandly wrought pop/rock. Youthful malaise and the death of love has never sounded, well, lovelier. If you're a fan of Elvis Costello's, or just well-written songs, you won't be disappointed by the Webbs' work.

>> "Weezer" by Weezer (Geffen): The best album from the Band That Wouldn't Die! Produced by ex-Car Ric Ocasek and coming in at a compact 28 minutes, this is pure pop perfection. Even though there are no insanely hooky sing-along choruses, Rivers Cuomo shows what a fine songwriter he's turned out to be. It's a steady stream of gosh-darn, upbeat music.

"America: A Tribute to Heroes" (Joint Network Benefit)

Other noteworthy albums and single tracks include: "Looking for the Perfect Beat: 1980-1985" by Afrika Bambaataa (Tommy Boy); "Proxima Estacion: Esperanza" by Manu Chao (Virgin); "Live at the Fillmore East, March 7, 1970: It's About That Time" by Miles Davis (Columbia/Legacy); "Bootylicious" by Destiny's Child (from "Survivor" on Columbia); "Three Chord Opera" by Neil Diamond (Columbia); "Revelling/Reckoning" by Ani DiFranco (Righteous Babe); "Honest with Me" by Bob Dylan (from "Love and Trust" on Columbia); "Clint Eastwood" by Gorillaz (from "Gorillaz" on Virgin); "Get Ur Freak On" by Missy "Misdemeanor" Elliott (from "Miss E -- So Addictive" on Elektra); "Sunny Border Blue" by Kristin Hersh (4AD); "Echo" by Incubus (from "Morning View" on Epic); "A Woman's Worth" by Alicia Keys (from "Songs in A Minor" on J Records); "Buddy and Julie Miller" (Hightone); "69 Plunderphonics 96" by John Oswald (Seeland); "Embrace the Chaos" by Ozomatli (Interscope); "Screamin' and Hollerin' the Blues" by Charley Patton (Revenant); "Idioteque" by Radiohead (from "I Might Be Wrong: Live Recordings" on Capitol); "Is This It" by the Strokes (RCA); "Standards" by Tortoise (Thrill Jockey); "The Invisible Band" by Travis (Independente/Epic); "Nuggets II: Original Artyfacts from the British Empire and Beyond" (Rhino); "Bootleg Series Volume 1: The Quine Tapes" by Velvet Underground (Polydor/UME); "Poses" by Rufus Wainwright (Dreamworks); "Dear Someone" by Gillian Welch (from "Time (The Revelator)" on Acony); "Pneumonia" by Whiskeytown (Lost Highway); and "Essence" by Lucinda Williams (Lost Highway).

And one note of interest for local folk is the reissue of Don Ho's Reprise recordings of the '60s on the Collectors' Choice Music label. Recorded in Los Angeles with such studio heavyweights as Sonny Burke and Gordon Jenkins, both "Tiny Bubbles" and "The Don Ho Christmas Album" perfectly capture the swingin' casual vibe of Ho in his prime. Visit www.ccmusic.com for more information.

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