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Tuesday, Jan. 21, 2003 Randy Reiss's Top 10 of 2002 Neumu's Michael Goldberg writes: Well, we're getting to the end of our best-of-2002 list fest. By the end of this week all the lists will have been featured. But don't be sad. That means four more great lists for you to check out, including this one. Today we feature Neumu contributing editor Randy Reiss's fave recordings of 2002. Enjoy. Missy Elliott, Under Construction (Elektra): Holy cow, is this a great CD. With one foot in the past (referencing UTFO, Blondie, Run-D.M.C., MC Lyte, EPMD and almost countless others) and the other foot in the future (Timbaland's twerked-out cyber-funk once again reigns supreme), Missy unleashed one of 2002's most amazing sonic documents. Put it this way: "Work It" — with backwards rapping, deft use of Blondie and Run-D.M.C. samples and humorously sexed-up lyrics — is just the tip of the iceberg when it comes to the joyful noise on Under Construction. Timbaland (once again) deserves special mention here as the Brian Wilson of his generation, putting out experimental albums that resonate with an audience and land on the top of the pop charts — a neat trick attempted by many but perfected by few. If you came looking for deep lyrics, you were at the wrong party. But if just wanted to smile and feel good as your hips and feet did what they do best when the groove is good, there was no better way in 2002 than to listen to Under Construction. Party in a box — put it on and dance yo' ass off. Various Artists, Boom Selection_Issue 01 (Boom Selection import) and The Best Bootlegs in the World...Ever (No Label import): Thank goodness for the Internet, bored music geek teens, file trading and cheap re-mix software — all of which combined to bring us a vast array of collaborations that would just never ever happen in real life because of legal and artist-ego issues. Every time I thought I had enough of bootlegs/"mash-ups," some other wonderful combo would pop up and make me fall in love all over again. From Tweet's "Oops (Oh My)" over Oasis' "Wonderweall" to Aaliyah singing "If Your Girl Only Knew" over the Stone Roses' "Fool's Gold" to all the Destiny's Child, Christina Aguilera, Missy Elliott and Eminem mixes, mash-ups rocked my world all year long. There are so many favorites to choose from, but I think the one that hit me the hardest was Dr. Dre & Snoop Dogg's "The Next Episode" over Crowded House's "Weather With You." Gangsta rap and '80s guitar pop — two of my favorite genres, together at last. Cee-Lo, Cee-Lo Green and His Perfect Imperfections (Arista): As the year came to a close and we got word that Goodie Mob had officially called it quits, you could listen to the group's old CDs and mourn the past or fire up Cee-Lo Green and His Perfect Imperfections and be happy and hopeful for the future. A lively blend of hip-hop, gospel, rock and soul, this CD was beguiling at every turn. The album has an earthiness, earnestness and vulnerability that are missing from much of urban music these days. Those of us who peeped the album in time knew to arrive early at this year's Smokin' Grooves to see Cee-Lo open, and steal, the show. Eminem, The Eminem Show (Shady/Interscope): Not as phenomenal as his first two major-label releases, but this is a big bounce back from that terrible D-12 album. Yes, it was a wee bit long, and I personally like his scrappy rhymes of his pre-fame fucked-up life more than his rhymes about his post-fame foibles, but Eminem still can't be touched lyrically. Add to that Dr. Dre's still-amazing-after-all-these-years production, and you get a Show that I was happy to tune in to all year long. DJ Shadow, The Private Press (MCA): DJ Shadow does it again, giving the ears more to explore in one song than many artists manage in an entire career. How he manages to include a banger like "Walkie Talkie," a trip-hop anti-war song like "Six Days" and some vintage '80s disco funk like "Monosylabic" on one album without sounding like he's reaching is a testament to his genius. Plus, the layers. So many glorious layers of sound, contrasting and complementing each other. I've had this since its release in June, and here it is December and I'm still (happily) discovering layers and relationships between beats, rhymes and life. The Roots, Phrenology (MCA): If only Phrenology would launch The Roots into mega-superstardom, I could rightly say it is a hip-hop Rubber Soul or OK Computer — an experimental break from their past that launches them to a whole new level of artistry. Either way, it is an awesome artistic statement, encompassing the personal ("Break You Off," "The Seed 2.0"), the political ("Water," "Pussy Galore") and the party ("Rock You," "Thought at Work"). Weezer, Maladroit (Geffen/Interscope): This album rocks. Hard. There's just a touch of emo over-earnestness, but mostly it is just fat riffs and fun licks. When it fires on all cylinders ("Dope Nose," "Keep Fishin'" and "Possibilities"), it puts the power in power pop. Cody ChestnuTT, The Headphone Masterpiece (Ready Set Go): Don't let the title fools you — this isn't some orchestral prog-rock concept album that only sounds good with headphones on in a darkened room with black-light posters displaying a purple unicorn leaping over an electric rainbow. The title comes from the fact that ChestnuTT recorded it on a 4-track in his bedroom wearing headphones so as not to annoy his roommates. The music he came up with is an engaging mix of '60s rock and '70s soul with definite nods towards hip-hop and modern R&B — think a lo-fi Lenny Kravitz without the concentration on searing geee-tar solos. Though this two-CD set could have easily been pared down with the help of an outside producer, it stands on its own with unforgettable songs like "Look Good in Leather," "Bitch, I'm Broke," "Serve This Royalty," and "The World Is Comin'." Johnny Cash, American IV: The Man Comes Around (American/Columbia): Given the sound of Johnny Cash's voice on this album, it is likely his last. However, his creaky voice lends a new, haunting touch to his cover songs. Best example: "The First Time Ever I Saw Your Face" in the hands of Roberta Flack is a slow burning celebration of falling in love, while Cash's rendition becomes a mournful look at love past — without even changing a lyric. Beck, Sea Change (Interscope): Beck's heartbreak album. The best Gordon Lightfoot or Jim Croce album I've heard in a while — and I mean that in a positive way. The strings on this album are amazing and accent the songs perfectly. Special Mention: N.E.R.D., In Search Of... (Virgin): Superstar hip-hop producers The Neptunes rock out and prove that they're geniuses in nearly any genre. This only gets a special mention because it topped my list last year when I downloaded the import copy that used samples instead of a band. I still like it, but a year later it isn't as fresh to me as the others on this list. The Neptunes were responsible for so many awesome songs this year ("Grindin'" and "Hot in Herre" for starters), it seems wrong to leave them out of my year-end list based on semantics. Ten Best Singles: Singles "Hot in Herre" — Nelly "Work It" — Missy Elliott "Fell in Love With a Girl" — White Stripes "Hey Ma" — Cam'Ron "Bad Babysitter" — Princess Superstar "Hella Good" — No Doubt "The Middle" — Jimmy Eat World "Oops (Oh My)" — Tweet "Addictive" — Truth Hurts w/ Rakim "Grindin'" — Clipse The InsiderOne Daily Report appears on occasion.