Scooby Album/Song/Artist of the year?

Mine was most definitely Pink's "Can't Take Me Home", but not because it was dismissed as second-rate; I genuinely believe that it is to my knowledge the best R&B album of the year.

However I'll admit that part of the reason I've emphasised "Can't Take Me Home" over Kelis's "Kaleidoscope" is that I reckon the critical acceptance of Kelis is too easy - it draws from the fact that her abrasive personality is very rockstar-ish, rather than any actual superiority within the music (in rock-crit terms, Kelis is at once both female R&B's Mick Jagger and its David Bowie, while Lauren Hill, the other critically accepted artist, is its Bob Dylan). I tend to downplay the fact that in my head "Can't Take Me Home" beats "Kaleidoscope" by only a hair.

Kid A?

We Didn't Say That? - Daphne & Celeste

But the winner is: The Friends Of Rachel Worth. Old glories anyone?

I'm seconding The Friends of Rachel Worth, which gets better with every listen. And that's a lot of them. Unfortunately if both Pete and I are rating it, does that take it out of the SCOOBIE category?

All hail every last goddamn thing the Smashing Pumpkins released this year. One official album, another album specificially commanded to be made available on the net, at least three or four separate demo and rarity collection snuck out to the net by Bald Billy, and a live CD given to fans the other night at the final ever show which is also now on the net. And they were all, every last one of them, completely fucking fantastic. Yay!

I really, really, really praise up to the heavens Britney Spears, even though her album is mostly rubbish. Mainly because her singles are good and I kind of feel bad for her, because she gets poked out while the infinitely worse Christina Aguilera wins awards because she can imitate Mariah Carey.

I also really liked Ricky Martin's album, A LOT, which surprised me and then surprised me again when I read all the tepid reviews - his first English album got glowing reviews and I thought it was rubbish. So I've been extra kind to Ricky, but he deserves it, I enjoy myself every time I listen. Even the ballads have grown on me, I'll probably place it on my top ten of the year.

I havent actually praised it that much, but the Daphne And Celeste record probably falls into this category. I honestly honestly honestly think it's very good, all apart from two or so songs. And it's excellent background music for any situation, too.

I think i'd have to go for uppers and downers by the yo yos (a band much derided by indie twee fop friends (despite the fact that most of them like the dum dums)) which is a FANTASTIC album for several reasons: a) 17 songs and it's only 43 minutes long b) the bass guitar sound is DUNGA DUNGA DUNGA c) CHORUS MELODY TUNE, go on then bung ANOTHER chorus in d) despite being written when danny was coming off smack, it is a JOYFUL !P!O!P! BUZZ rather than introspective "oh dear i'm not happy" music e) On the liner notes they thank their shoe suppliers before their instrument makers Really do yerself a favour and at least download rumble(d) the next time you've run out of things to look for on n*pster

Sorry, I think I misunderstood the question. (Which will luckily save both Alex and Tom). I thought the definition of a Scooby record was something slightly obscure which you praised not because of its artistic worth but because it made you look cool and interesting. the calssic example of this is Low by David Bowie of course.

My answers therefore remain the same - and I certainly don't think the three records I mentioned are anywhere near as good as the general critical opinion (round here). Of course having Alex and Tom's replies also kind of proves my point. And you know I'm only involved in Freaky Trigger to get my points proved.

Kelis can adopt hideous rockist affectations *live*, but the records are quite different. I still can't believe the euphoria of "The Roller Rink", mundane though it may seem on first listen, and so far into the album ...

My scooby record would probably be XTC's "Wasp Star", which does seem to have annoyed certain people of my acquaintance who complain that the song structures and arrangements are too straightforward compared to the first volume of Apple Venus. Erm, surely that was *the point*?

Oh yeah "Roller Rink" is absolutely brilliant - one of the best "up" tracks of the year. I always think the beat sounds like some jack in the box cranking open. I find it easy to forget just how many *great* songs are on Kaleidoscope - "Caught Out There" of course, but also "Good Stuff" "Get Along With You", "Mafia", "Mars", "No Turning Back"... As I said I've no problem with Kelis herself at all, it's just that critics seem to isolate her from "formulaic" R&B in the same way that they do Moby from the rest of dance music. Of course, in Kelis's case it's much more forgivable.

I suppose this has to be quite simply the (released) album of the year: LLOYD COLE's THE NEGATIVES. I hardly know two other souls who have even heard the thing.

I wouldn't say there was exactly massive sentiment otherwise (I don't remember anyone saying it was rubbish, persay), but no-one seemed to be particularly impressed with the (belated released) album of the year, namely 'Miss', by The Visitors. Now that I think about it, I should have mentioned that in the best album titles section. The album itself is quite simply one of the greatest teenage dreams I've ever heard, but most people who heard it seemed to politely let it pass them by; I still can't understand why.

Madonna's "Music" (the single) - fairly critically acclaimed, but trashed repeatedly in FT. Not knowing much about French disco spares me from comparing the song to something else that it's allegedly trying to live up to.

Actually that whole "it's just Madonna goes French house' criticism really annoyed me a lot. It's true for, what, one song? The album is generally pretty weak, but it's more a case of sub-Cher vocals, limpid production and, er, poor songwriting getting in the way than any too-obvious influence. If the Daft Punk link was more explicit it would probably be a better album for it.

The Visitors?

>>> most people who heard it seemed to politely let it pass them by; I still can't understand why.

Well, you'll understand one day, if you encounter any of the Visitors' former members. In the middle of a crowded pavement, for instance. See, these are no pussycats. No ponies neither. You don't get in their way in a hurry. Nor do you do it slowly. You politely let them pass you by. If possible you doff your hat, or mumble words of reverence. And then you might get off with only a grimace from them, and with your teeth intact.

How sweetly ironic that a former member of the Visitors was complaining about in-jokes on this very forum just last week....