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Albums

Best albums of 2000: #3 Mojave 3 “Excuses for travellers”

It was Saturday afternoon, September 30, 2000, and I was at work, nearing the end of my shift. I called Tim because I had a hankering to go out and was curious to see what my friends were doing. “I know what you’re going to do tonight,” Tim proclaimed, much like Hunter S. Thompson’s lawyer might have done in ‘Fear & Loathing in Las Vegas’. “You’re coming with me to see Mojave 3 at the Horseshoe tonight!” It was fortuitous for him and for me that he had an extra ticket for the show and was looking for someone to claim it. I had never really listened to Mojave 3 before but I was game.

I don’t really remember many details of the show, given the heroic amounts of cheap draft consumed that night, but I’ve got two that I can relay. The first is a short conversation that transpired on the way out of the Legendary Horseshoe after the show that will live on in infamy. Tim was saying something about how Neil Halstead and Rachel Goswell had gone all Cowboy Junkies with Mojave 3. And I drunkenly proclaimed, “Tim, you have no concept of genre.” He just looked at me, incredulous, and said, “I don’t even know how to respond to that.” The second is that I must’ve really enjoyed the show because I went out the very next day to purchase Mojave 3’s latest disc, 2000’s “Excuses for travellers”.

If that story sounds vaguely familiar, you must’ve read the post I wrote about the track “Return to sender” when it appeared at #6 on my Best tunes of 2000 list. I reproduced it practically verbatim above because I love the story and it bears repeating, especially given that it recounts my introduction to the group and their third album, the subject of our post today.

Mojave 3 came to be when British shoegaze icons Slowdive were dropped by their label, the equally iconic Creation Records, in 1995 and that band’s principal songwriters, Neil Halstead and Rachel Goswell, along with the drummer at the time, Ian McCutcheon, decided to record music towards a different direction entirely. The trio became a quintet shortly afterwards with the addition of Alan Forrester and Simon Rowe (the latter formerly of Chapterhouse), but the ‘3’ in the name stuck. You might be surprised, knowing how I feel about dream pop and shoegaze, that it took me so long to get into this band but that’s the truth of it.

Mojave 3’s third album, “Excuses for travellers”, is like a happy medium between the group’s first two. It’s not as gauzy and mellow as “Ask me tomorrow” and not as peppy and twee as “Out of tune”. It just is. It is a mood and a feeling. It’s what you put on when you want to feel that “Excuses for travellers” feeling. Those who know, know exactly what I’m talking about. This is an album that doesn’t peak and that doesn’t have any obvious singles. It just has ten amazing tunes, of which of I have picked three of my favourites for you to sample. Hope you’re in the mood.


“Bringin’ me home”: My first pick is the only one on which Neil Halstead doesn’t take the lead vocal duties. Penned and sung by Rachel Goswell, it follows the lead of the other songs with a tempered, upbeat feel. Instead of sunshine, though, Rachel channels a rainy day. “Just a rainy day here in my usual place, where no one hears me.” Just sitting alone with the sound of the raindrops and the echoes of memories, imagining what might’ve been. A surprising, yet subtle synth underpins the tune, adding a layer to the guitar strum and sparse drum beat. And then, as if we weren’t clear on the mood, a harmonica makes an appearance for good measure.

“In love with a view”: “I had a plan that was built on thinking too long. Canadian winters, at home with your sisters, the romance was hard to ignore. You were beautiful. I was happy to fall.” Perhaps this is predictable but I have soft spot for any tune that references home, especially when that tune comes from an artist not from Canada. The opening number perfectly sets the mood. Strumming acoustic, twinkling piano, wailing pedal steel, and a bass line that just feels like a soaked handkerchief. The memory is cold. A cabin in the middle of nowhere, a fixture in the corner of all those Polaroids. Halstead and Goswell sing together at the refrain, both plaintive, both hopeful that the pain won’t be in vain. And when the song explodes into an all out jam at the three and a half minute mark, you can’t help but feel that the band are are working through a whole range of emotions. It’s just so beautiful and passionate.

“Return to sender”: Track four is pure joy. “Return to sender” is a tune that always brings a smile to my face. It makes me want to put my arm around my wife’s shoulder so that we can sway together with our eyes closed and sing along to those Neil Halstead witticisms. “I went looking for a priest, I said, ‘Say something, please I don’t want to live my life all alone.’ He said, “God will take care of those that help themselves. But you look pretty screwed, send a letter.’” My sixth favourite tune from the year 2000 is a boppy number. It’s a feeling that dances along to Halstead’s gentle acoustic strumming and his soft and plaintive vocals. The jaunty drumming, the banjo twang, twinkling keys, and harmonica flourishes only to serve to add to the wistful joy. “If you find us, return to sender.”


I’m obviously still not on a regular schedule around here so I won’t promise when we’ll get to album #2… but, it’s coming. In the meantime, here are the previous albums in this list:

10. Richard Ashcroft “Alone with everybody”
9. The New Pornographers “Mass romantic”
8. The Cure  “Bloodflowers”
7. The Weakerthans “Left and leaving”
6. The Clientele “Suburban light”
5. Belle and Sebastian “Fold your hands child, you walk like a peasant”
4. Coldplay “Parachutes”

You can also check out my Best Albums page here if you’re interested in my other favourite albums lists.

Categories
Vinyl

Vinyl love: Coldplay “Parachutes”

(Vinyl Love is a series of posts that quite simply lists, describes, and displays the pieces in my growing vinyl collection. You can bet that each record was given a spin during the drafting of each corresponding post.)

Artist: Coldplay
Album Title: Parachutes
Year released: 2000
Year reissued: 2020
Details: 20th anniversary, reissue, 180 gram, yellow translucent

The skinny: I’ve already written on these pages about how excited I became when I first heard the single “Yellow”. Given how big that song became and how much commercial radio overplayed it, you’d think (and normally I would’ve thought the same) that I might have gotten sick of the tune by now but somehow this never happened. Indeed, “Yellow” is still my favourite single tune from the year 2000. And the rest of “Parachutes” is hardly a slouch. I bought the album on CD on the back of the aforementioned single and quickly fell for the other nine tracks. And none of this admiration has faded at all despite repeat listens for over two decades*. So when a 20th anniversary reissue of the album on (of course, yellow) 180 gram vinyl was announced last year, I did not hesitate to pull the pre-order trigger. It arrived months later, looking and sounding just as sweet.

Standout track: “Yellow”

*I’ve got the album ranked as number four on my favourites for the year in a series that I am still in the process of working out.

Categories
Albums

Best albums of 2000: #4 Coldplay “Parachutes”

Back when I wrote about the song “Yellow” to finish off my Best tunes of 2000 list, I wrote how I still remembered first hearing the track on the radio and the excitement I felt in experiencing it. I also briefly played the game of trying to get us all to remember this same feeling, “Yellow”, before everything that came after with Coldplay. A tough task to be sure, given that Will Champion, Guy Berryman, Jonny Buckland, and Chris Martin make up what is still surely one of the world’s biggest bands and one of the more commercially successful rock acts of the 21st century.

To be honest, I don’t listen to Coldplay all that often any more and don’t think I’ve heard even a note of their last two records. However, I really liked their first three records and perhaps to a lesser extent, their fourth. Indeed, “Parachutes” is still, for me, a classic, the measuring stick by which I’ve always judged their latter work. It is the sound of a young band finding their feet after a few years of slogging it out on the live circuit and striking gold.

The album went to number one on the UK album charts and though it took a bit longer, went platinum many times over in the states. It was long listed for the Mercury prize and has been cited as influential by more than a few newer bands, which is more than we can say for anything by them that came later. Interesting, then, that the boys in Coldplay don’t really like the album all that much.

“Parachutes” nicely filled the British guitar rock void, just recently vacated by Radiohead, when that latter band decided to go experimental and electronic, a fact to which many critics attributed Coldplay’s early success. But for me, the album wasn’t just a rehash or throwaway. It was beautiful stuff. It was long-faced and grieving and claustrophobic production. It was the unexpected discovery of a new voice in Chris Martin, a breath of fresh air before all the pretence set in. It was Coldplay’s most passionate work because it wasn’t planned or expected or foreshadowed. And unfortunately, this kind of perfection can never be replicated.

It’s more than likely that most of you know the ten tracks on this release but I welcome you all to revisit them without delay, starting now with my three picks for you.


“Shiver”: The first single to be released off the album in the band’s native country was the second to come out on this side of the Atlantic. Chris Martin has admitted that he wrote the song with a particular woman in mind but has never given up her identity. “From the moment I wake to the moment I sleep, I’ll be there by your side – just you try and stop me.” Martin has also said that in an attempt to channel Jeff Buckley, the band created their “most blatant ripoff”, and a poor one at that. I’ll have to take his word for it because I’m not all that familiar with Buckley’s work but this track a heartbreaker. A jangling mesh of guitars that starts off in the distance but moves ever closer until it bursts into flames. And then, quiet – an easing, a stepping aside for Martin to shuffle into the light. Finally, it’s all him, pouring it all on, aching with his soul, and he leans on those driving guitars to hold him upright. Else, he might melt into a puddle of yearning.

“Don’t panic”: The opening number on the album was released as a single almost a year after the album’s release. And yet it is one of the band’s earliest known songs, first seeing the light of day as early as 1998. This version, the one I know and love, is perhaps much different than how it originated. And to be honest, I’ve never bothered to try to find out. I love this two minute wonder. It starts with a gentle strum and an even gentler touch on drums, Chris Martin is almost whispering, intimate, an aside to himself and millions of others. “And we live in a beautiful world. Yeah we do, yeah we do, we live in a beautiful world.” The guitars jangle and chime and sing and echo in, shattering a mirror into a million sparkling pieces. The world as microcosm, beauty in infinity, quiet in expansiveness. A young Chris Martin is reassuring himself and us at the same time.

“Yellow”: As I inferred above, this song was and still is my favourite song from the year 2000. It is iconic. It was the beginning of something and the end of something else. It was released as the second song off the album in the UK but first in the US. It was my introduction to the band, as it was to many others. It was in heavy rotation everywhere, ubiquitous for a time, but for me, it never became old, despite the oversaturation. I got sick of the band before I got sick of the song. This is pop perfection. A hammering on the guitars, all violence and passion, a threat to fall apart but yet somehow holding it all together. Chris Martin is right on this same page, singing softly but in a quiet rage, falsettos floating on a cloud of reverb. “I came along, I wrote a song for you, and all the things you do, and it was called Yellow.” It is romance. It is love. And a hopeless romantic like me could never resist it.


To be honest, this particular post is late by a few weeks and now, with my new philosophy for the site, I’m definitely not going to promise when we’ll get to album #3. So in the meantime, here are the previous albums in this list:

10. Richard Ashcroft “Alone with everybody”
9. The New Pornographers “Mass romantic”
8. The Cure  “Bloodflowers”
7. The Weakerthans “Left and leaving”
6. The Clientele “Suburban light”
5. Belle and Sebastian “Fold your hands child, you walk like a peasant”

You can also check out my Best Albums page here if you’re interested in my other favourite albums lists.