2007 Top 50 Artists

1. Wilco Sky Blue Sky
   Wilco may be America’s premiere alt-country, contemporary folk, and psychedelic, experimental, alternative rock band, but lead singer and songwriter Jeff Tweedy suggests we just use “rock” to describe the band’s output. Sky Blue Sky marks a mellow period in the band’s tumultuous history and the music reflects the collaborative spirit of the recording process. With input from individual band members, Tweedy built consensus for the album’s direction. His songs focus mainly on personal relationships and the music reveals strong ‘70s rock influences. If you’re listening for the dissonance of A Ghost is Born or the harder edges of Yankee Hotel Foxtrot, you won’t find it here. What you will hear are beautifully constructed songs and a band that appears to have found a democratic formula for creating impeccably crafted rock. (Nonesuch) RMW

2. Feist The Reminder
   Leslie Feist once created music so loud that it nearly destroyed her voice. Now, she is a practitioner of quiet intensity and nuanced phrasing. The Reminder, Feist’s third solo release, reveals her unique and enigmatic vision as she takes the lead on songwriting and production duties. The album’s theme is love. Painted in expressionist language that conveys emotion through poetic imagery, these songs are modern torch ballads that elicit the excitement and pain of budding love affairs and struggling relationships. Several exuberant pop numbers, like “1–2–3–4” add variety to the mix. The production is expansive but uncluttered and Feist’s gorgeous vocals barely contain the potent sexuality that lies below the surface. This record should make her a star. (Cherrytree/Interscope) RMW

3. Mavis Staples We’ll Never Turn Back
   The Staples Singers traveled the country with Dr. Martin Luther King Jr. and witnessed the brutality and injustice faced by the freedom fighters of the 1950s and 1960s. They also helped spread the movement’s message through the power of music. Now, half a century later, Mavis Staples teams with Ry Cooder to resurrect some of these great civil rights’ anthems. Cooder’s arrangements are sparse and rhythmic, allowing for percussive echoes and ominous basslines. Mavis’ voice is a majestic thing. Rich with experience, emotion and dignity, she growls out her convictions, barely maintaining her joy and laughter while speaking her truth and praising the Lord. She embodies the strength, intelligence, integrity and commitment behind these stories of sacrifice and courage. (Anti) RMW

4. John Doe A Year In the Wilderness
   Since his days in the seminal L.A. punk band X, John Doe has cranked out dirty sounding music that makes you feel utterly awesome. A Year In The Wilderness is no exception. “The Golden State,” a song about being in a tortured relationship, is full of witty comments and sharp writing that’s surrounded by brilliant electric guitar work and spot on vocals from Doe and Kathleen Edwards. This album is chalk full of collaborations in true John Doe fashion. John’s big on bringing his friends into the recording studio and he delivers in the form of Edwards, Aimee Mann, Jill Sobule and Dave Alvin, who plays a killer slashing guitar on “Hotel Ghost.” (Yep Rock) CH

5. Josh Ritter The Historical Conquests of Josh Ritter
   Josh Ritter expands his musical realm by reaching beyond the confines of traditional folk songwriting. Any sense of stifled gravitas is displaced by the disc’s title, The Historical Conquests of Josh Ritter. Smirking histrionics and a band of wild men are behind the sense of utter abandon of this album. Recorded at a farmhouse in the bitter cold woods of Maine, the band pillaged the studio for all sorts of instruments, arrangements and rhythms. Ritter’s songs are well-crafted tales that encompass biblical, political and classical references. He employs a raw openness during recording that allows for extraneous noise and echoing effects, giving the songs a sense of place—“like a Raymond Carver story” says Ritter. (Sony) RMW

6. The Hold Steady Boys And Girls in America
   After releasing their third record in as many years, The Hold Steady outgrew their local hero status and are often referred to as “The Best Bar Band in America.” Boys And Girls In America is filled with the classic rock riffs and layered guitars that helped The Hold Steady grow into what the band’s Craig Finn refers to as “a smart rock band.” He and lead guitarist Tad Kubler moved from Minneapolis to Brooklyn to kick-start the project. Finn’s lyrical storytelling invites the adventurous listener into rollicking tales of love and debauchery. During a WYEP visit, Finn remarked that the songs evolve from things he finds “mildly funny.” Hopefully, he’ll continue to encounter situations that spur more musical meanderings. (Vagrant) KS

7. Amy Winehouse Back To Black
   Amy Winehouse has endured comparisons to Billie Holiday. Unfortunately, the contrast is based less on professional acumen and more on personal issues; both have suffered due to a lifestyle of debauchery. Amy Winehouse is a soul singer who belts out a song as though she puts no effort into it at all, but the words come from a dark place within. On Back to Black her boozy references to drugs and sex do not hide behind double entendres; instead they’re out there for the world to hear, and maybe blush over. But that’s the point. Besides her voice, its Amy Winehouse’s attitude that has made her a star. It’s also made her fodder for many a gossip columnist this year, too. (Republic) BS

8. The Avett Brothers Emotionalism
   Emotionalism marks a turning point for the trio of Seth and Scott Avett and Bob Crawford. The band continues to offer up pure, unadulterated, back-porch music, but with more structure to the arrangements than on previous releases. The band mixes bluegrass, grunge, punk, country, folk and other sundry genres. Still the boys parrot no one and instead follow their own burgeoning vision. What propels the music is the raw honesty with which it is made. What has always been at the heart of real country and punk is the idea that anyone can make music. Virtuosity is not the point. Joy and communication is the real pursuit and these boys do it better than just about anyone. (Ramseur) RMW

9. The Kooks Inside In/Inside Out
   The Kooks formed while students at Brighton Institute of Modern Music in London. Given the band’s name, you’d expect something outlandish from the quartet. But, that’s where you might be surprised. The Kooks derives its name from a David Bowie song from the ‘70s and the band’s catchy melodies draw inspiration from their parents’ record collection, combining elements of rock, pop, ska, and indie-rock sensibilities. The debut disc was produced by Tony Hoffer (Beck, Air, Supergrass) and recorded at Ray Davies’ KONK Studios in North London. Inside In/Inside Out, reveals that keeping things simple is often the best choice for a band whose foundation is built on the resurgence of British guitar bands. (Astralwerks) KS

10. Bruce Springsteen & the E Street Band Magic
    Ah, Bruce Springsteen and The E Street Band. That sax, the glockenspiel, the incessant pounding drums and guitars, the tinkling piano, the blue–collar poetry and growling delivery. Magic returns the band to the sound that shot them to superstardom. And it proves that Springsteen can still write songs that reach into the soul of the common man. Springsteen has rediscovered the joy of writing three-chord songs and nobody conveys imagery of small-town America better than “The Boss”. But, there’s a dark undercurrent here. Springsteen doesn’t spare us his political judgment: and his vision of the future seems bleak. Still, if you’re going to face the music, it might as well be with the songs of America’s premiere rock band. (Columbia) RMW

11. The Shins Wincing the Night Away In the 2004 movie Garden State, Natalie Portman’s character declares that The Shins are a band that will change your life. This endorsement created a groundswell of attention for the band and considerable anticipation for their next release. The Shins live up to the challenge by writing catchy, innovative, indie pop with a new depth that keeps the music fresh. Songs may begin as moody, atmospheric pieces, but eventually they settle into the bouncy, reverb-driven guitar-pop that defines the band. Even if they don’t change your life, The Shins deliver on the promise of a great collection of songs. (Sub Pop) MS

12. Patty Griffin Children Running Through
    Patty Griffin hits the mark on her sixth studio album. This is premiere Patty: songs about wizened old men, burgundy shoes as metaphor for childhood innocence and life choices hinging on a flying trapeze. And then there’s the unquestionable voice —the scrappy acoustic guitar playing and, the bold musical chances she still takes. Case in point: a mariachi band in “No Bad News”—wow. Patty hasn’t lost any steam during the second decade of her career. Children Running Through is a prime example of why many singer/songwriters want to be Patty Griffin. (ATO) CH

13. Modest Mouse We Were Dead Before The Ship Even Sank
    With a catapult in the rise of success of newer ‘indie rock’ acts in 2007 (Shins, The Arcade Fire), it was a pleasant surprise to listen to ‘90s indie rock vets Modest Mouse come up with their most creative and cohesive rock record to date. After being together for 10 years, the band added former Smiths’ guitarist Johnny Marr to the lineup. His guitar work and songwriting pushed the band’s sound in new directions. Lead singer Isaac Brock still has the gravely yelp rock style, which adds to the pleasure of very catchy but dense rock songs that are supported with tongue-in-cheek lyrics. (Epic) KS

14. Suzanne Vega Beauty & Crime
    Beauty & Crime is Suzanne Vega’s paean to New York, the city that witnessed her bohemian days in the Lower East Village and her transition to Manhattan sophisticate. Vega’s career took root in the guerilla art scene of the early ‘80s and she pays homage to those graffiti artists. “New York Is a Woman” personifies the metropolis as a seasoned dame who maintains a dignity and alluring beauty—not unlike the artist herself. Vega has weathered the storms of a fickle music industry and come through it smarter, sexier and with a very classy new record. (Blue Note) RMW

15. Ike Reilly Assassination We Belong To the Staggering Evening
    The Chicago singer/songwriter released his debut six years ago while nearing age 40, but with his latest work he attacks his music with the reckless abandon of a teenage rocker. His last album seemed to show Reilly mellowing a touch, but the new album rocks harder while retaining a smart genre-blending freshness with lyrics as sardonic as any you’d find out there. Dangerous ingested substances and holidays are two recurring themes on this album which makes evident Reilly’s status as heir apparent to the vicious wordsmithery of Warren Zevon. (RockRidge) MS

16. The Holmes Brothers State of Grace
    The Holmes Brothers fuse soulful originals and delightful covers with the musical precision that is their hallmark. State of Grace showcases the group as interpreters par excellence as they take on songs ranging from the ideally suited to the delightfully left-field. “What’s So Funny ‘Bout Peace, Love & Understanding?” and “Bad Moon Rising” exemplifies how the group can take a familiar song and make it their own. Cheap Trick’s guitar-pop anthem “I Want You to Want Me” is transformed into a slow, soul jam. Livening up the proceedings are guest appearances from Joan Osborne, Rosanne Cash and Levon Helm. (Alligator) MS

17. Rilo Kiley Under The Blacklight
    Rilo Kiley’s major label debut glitters with ‘70s rock, R&B, and disco references. Under The Black Light displays polished production with shiny guitar riffs and backing girl band vocals. Jenny Lewis’ deceptively clever lyrics seem to glide by on a happy glow of oblivion. But, then, a wickedly-sharp line whips out of the sweet melody and leaves a little red welt of sarcasm on your psyche. It’s fascinating to hear her twisted take on the underbelly of club life with its abundance of drugs, drink and not-so-kosher sex. This is a classic guilty pleasure pop record. (Warner) RMW

18. Linda Thompson Versatile Heart
    British folk diva Linda Thompson receives support from her extended musical family on this brilliant and heart-wrenching album. Martha Wainwright offers willowy harmonies that blend with Linda’s rich, evocative vocals. Rufus Wainwright penned the stunning “Beauty” which features a breath-taking cameo by British singer Antony; and Thompson’s daughter, Kamila, is responsible for the sardonic “Nice Cars.” However, Teddy Thompson, who acts as producer and main co-writer, proves to be her true champion. He has wit and empathy to match his mother’s as they delve into the complex emotion of love in its myriad forms. (Rounder) RMW

19. Son Volt The Search
    The Search marks the second album since band leader Jay Farrar reorganized Son Volt with all new musicians. It’s comprised of sounds that are dusty and lonesome, yet still generate a sonic warmth. Farrar produced 22 songs for the disc but pared the material down to 14 tracks. Having so much to pull from took pressure off the songwriter, allowing for experimentation with different song structures and instrumentation. Horns give a soulful twist to the band’s alt-country repertoire and Farrar’s venture into the realm of narrative songwriting proves that he excels at the style. (Transmit Sound/Legacy) MS

20. Spoon Ga Ga Ga Ga Ga
    The opening guitar riff on Ga Ga Ga Ga Ga is dark and creepy, but keep on listening and you will discover an upbeat, snappy collection of songs from this Austin, Texas band. The album is heavy on the horns, handclaps and tambourine. Also strangely enjoyable are the murmurs and mumbles of the band members that can be heard throughout the album. Spoon, known for their minimal styles, experiments on this album with a “Wall of Sound” (“The Underdog”), atmospheric shadings (“The Ghost of You Lingers”) and good old explosive rock (“You Got Yr. Cherry Bomb”). (Merge) CH

21. The New Pornographers Challengers
    Canadian indie rockers, The New Pornographers, have toned down the rock but maintain the type of songwriting that epitomizes an independent band. A.C. Newman, who wrote nine of the tracks, trades in his synthesizer for acoustic instruments, including strings. Dan Bejar adds another three songs including the “call and response” pop number “Myriad Harbour.” Neko Case has her shining moments on a couple of tracks and Kathryn Calder debuts as a lead vocalist. Typical for the band, each member plays a pivotal role: John Collins produced the disc with Newman and Phil Palazzolo and drummer Kurt Dahle produced drum tracks. (Matador) RMW

22. J.J. Cale & Eric Clapton The Road to Escondido
    Eric Clapton has experienced enormous success thanks to J.J. Cale. Clapton hit the top of the charts with two of Cale’s songs and he credits a great deal of his sound to the influence of his friend. The pair’s first mutual recording feature 11 Cale-penned tracks with additional writing from Clapton and John Mayer. The opening track, “Danger,” features the late keyboardist Billy Preston in one of his last sessions. Cale and Clapton sing together like long-lost twins—Cale taking the gravelly low part and Clapton singing the harmony. Together, they’ve produced a seasoned sound that oozes with infectious exuberance. (Reprise) MS

23. Iron And Wine The Shepherd’s Dog Sam Beam, aka Iron And Wine, has evolved from creator of quiet lo-fi recordings to master of a densely structured album that feature a dizzying array of instruments and intricate arrangements. Psychedelic rock and reggae elements converge to meld with Beam’s established ethereal folk foundation. Joining Beam is producer Brian Deck, jazz musicians Max Lux and Rob Burger, and Joey Burns and Paul Niehaus of Calexico. Beam’s whispery vocals dominate the recording. Whether rolling over trippy world beat rhythms or gingerly stepping between banjo and acoustic guitar, there is something deeply spiritual in both his mysterious lyrics and beautiful melodies. (Sub Pop) RMW

24. Paolo Nutini These Streets
    Nineteen year old Paolo Nutini is making waves in the U.K. and in the U.S. thanks to his emotive autobiographical love ballads. Despite his Italian name, Nutini’s family has lived in Paisley, Scotland, for at least four generations. Nutini was raised on a diet of Scottish folk music, boogie woogie piano, R&B and singers John Martyn and Van Morrison. The CD begins with “Jenny Don’t Be Hasty,” a rocking song about an encounter with an older woman (of the mature age of 23). Other standouts include the doomed love song “Last Request” and the regretful “Rewind.” (Atlantic) MS

25. Steve Earle Washington Square Serenade
    Goodbye Guitar Town, hello New York City. Steve Earle has left behind the vestiges of his country past and acquired a layer of urban grit with a move to the Big Apple. His music still features steel guitars and banjo and his signature nasal twang, but it’s acquired a cosmopolitan halo. Earle’s melodies are inspired and his lyrics, while still political, are more subtle. His new spouse, Alison Moorer, seems to be the inspiration for several gorgeous love songs and her crystalline backing vocals and duet coax a sweet quality from the veteran troubadour’s rugged vocals. (New West) RMW

26. Andrew Bird Armchair Apocrypha
    Armchair Apocrypha finds the classically trained Andrew Bird in a Minneapolis studio collaborating with some of the area’s best young musicians. Bird’s repertoire, a conglomeration of American blues, jazz, Hungarian gypsy music, rock and classical elements, benefits from the infusion of edgier players and from the production of main collaborator, drummer/keyboardist Martin Dosh. Bird’s pension for strings, Wurlitzer, Spanish guitar and his signature whistling is nicely counterbalanced by fierce drumming and a convergence of psychedelic guitars. His lyrics run from the oblique to the sublime and capture the wild imaginings of a music visionary. (Fat Possum) RMW

27. Ryan Adams Easy Tiger
    Ryan Adams’ recent friendship with Grateful Dead member, Phil Lesh, seems to have impacted his songwriting. Easy Tiger is a mellow affair that sounds a lot like the countrified jam-rock of the 1970s. Besides The Dead, songs are heavily influenced by the finger-picking ballads of Neil Young and Gram Parsons’ whining steel guitar melodies. Vocally, Adams sounds great. His voice soars from fragile falsetto to muttered growls as he matches the emotions of the song. His inflection and phrasing is beyond compare and he receives deft backup from his band, The Cardinals. (Lost Highway) RMW

28. Angelique Kidjo Djin Djin
    In recent years, the music world has seen a glut of recent years of guest-star albums where aging musicians duet and jam with younger performers and peers in the hopes that the pairings will multiply creative sparks—and sales. Although this album falls into that category, Kidjo had the good sense to reserve most of Djin Djin for guest-free tracks. Still, listen for the worthy contributions on the album by Peter Gabriel, Ziggy Marley, and Amadou & Miriam. Kidjo’s own world music alchemy is worthy of undiluted attention. (Razor & Tie) MS

29. Bright Eyes Cassadaga
    Bright Eyes’ front-man, Conor Oberst, is lauded for his intelligent songwriting and his high reedy warble is the band’s defining sound. But don’t overlook other band members. Mike Mogis produces Cassadaga and is joined by long-time collaborator Nate Wolcott. At the core of the record is the country-tinged Americana twang that brought the group its initial critical acclaim. New to the production is the string and horn sections and backing girl vocals. The songs are inspired by American landscapes and the spirits that inhabits them—sometimes literally. (Saddle Creek) RMW

30. Yo La Tengo I Am Not Afraid of You And I Will Beat Your Ass
    Yo La Tengo doesn’t sound like they’ve been together for 23 years—and that’s a good thing. The Hoboken trio approaches this release like a new band in the throes of experimentation. Their last few releases were subtle and beautiful. But here, they open their bag of tricks and find an electric guitar, fuzz pedals and a horn section. The album varies stylistically from song to song—some are moody folk songs, some are psychedelic guitar freakouts, while others are pure pop fun. The eclectic demonstration reveals that Yo La Tengo is made up of well-versed musicians who aren’t afraid to surprise your ears. (Matador) BS

31. Peter Bjorn & John Writer’s Block
    It’s been hard to escape Peter Bjorn and John this year because their music has been everywhere. And that’s a good thing, as the Swedish trio’s album is worthy of every minute of the attention it’s getting. These 11 songs fill this album with plenty of charming pop to go around. Warning though; repeated listenings to Writer’s Block could be habit forming. In fact, you might even become hooked after the first listen. This group has already created some pretty big shoes to fill; and it will be exciting to see what they have coming up next. (Columbia/Almost Gold) BS

32. A Band of Bees Octopus
    A Band of Bees’ (“The Bees” in the U.K.) third album, Octopus, impressed the pants off us. Credit for this state of undress is due primarily due to the group’s ability to take on and consistently manage multiple genres. Combining sounds from the ‘60s, including country, psyche and an early style of reggae, there’s not one clunker on this entire album. Highlights include “(This Is For The) Better Days” and “Who Knows What The Question Is?” You’ll like this album even if you don’t know it yet. This is especially true if you love groups like Country Joe and The Fish, My Morning Jacket and The Band. (Astralwerks) CH

33. Tori Amos American Doll Posse
    Tori Amos proves she still has edge with American Doll Posse. Not only are the topics in line with her usual feminist p.o.v., she’s gotten that old spark back. This album rocks harder than her previous album, The Beekeeper. For this one, Tori developed five unique female personas (based on Greek gods and goddesses) that “collaborate” with her on this 23 track album. Tori’s writing less about herself and more about the state of the world. With rockers like “Teenage Hustler” and “Big Wheel,” (that bass line is so good!), this album marks a return to a classic Tori sound. (Epic) CH

34. Paul McCartney Memory Almost Full
    A man of a certain age should be afforded the chance to access his life without the burden of his legendary stature. Sir Paul examines his years from frolicking youth to rock star icon to contemplative widower with humor and dignity while avoiding the pitfall of pretense. Along the way he playfully evokes the evolution of his own music—from Beatlesque harmonies to Wings’ soaring rock arrangements. The disc is highlighted by a five-song cycle that explores his most important life choices, and, befitting a man of his stature, he ends with an optimistic scenario for his own dying day. (HearMusic) RMW

35. The Cat Empire Two Shoes
    The Cat Empire is one of Australia’s most popular acts. Based out of Melbourne, the six-piece band is poised for international success having toured the United States for the better part of 2007. Two Shoes, the band’s second effort, was recorded in Havana, Cuba. The location added a Latin influence to their unique fusion of jazz, ska, rap and rock. Originally formed as a rock trio, the band’s line-up expanded with the addition of “The Empire Horns.” The sextet arrangement allows for more experimentation with genres and added to the band’s dance ability factor. (Velour Recordings) KS

36. KT Tunstall Drastic Fantastic
    KT Tunstall’s sophomore release reflects the chaotic existence of a traveling musician and also inspires the disc’s cartoon artwork. Tunstall’s songs are crystallized pop songs that seem designed for radio airplay. That doesn’t mean that she’s exorcised the folk roots of her first album. “White Bird” is pure ‘70s folk rock and “Funnyman” features strumming mandolins and acoustic guitar. However, the tracks that are bound to get the most attention are the instantaneously catchy pop rockers. “Hold On” is the kind of song that will have pre-teens humming along with Mommy while listening to a CD they can all appreciate. (Virgin) RMW

37. Richard Thompson Sweet Warrior
    Sweet Warrior, Richard Thompson’s first electric album since 2003, plays on the theme of love as war—ground that Thompson has mined many times over. Some songs seethe with self deprecating humor and vitriol while others reveal the vulnerable tenderness of loss. The one exception to the theme is “Dad’s Gonna Kill Me.” This anti-war anthem veers into a real war scenario as told through the perspective of a G.I. stationed in Bagdad. Vocalist Judith Owens, fiddler Sara Watkins and bassist Danny Thompson offer excellent support in Thompson’s continuing conflict with the vicissitudes of love. (Shout) RMW

38. Sinead O’Connor Theology
    “Theology is my attempt to create a place of peace in a time of war.” With this statement Sinead O’Connor sets the theme for a two CD set that features nine original songs and three re-interpretations (including “I Don’t Know How To Love Him”). Most of the songs are recorded twice—first in an acoustic setting and then as lush pop arrangements. O’Connor has been exploring issues of spirituality and faith over her past several albums; these songs represent the cumulative effort. This is an intense, deeply personal account of a complex woman’s journey to the soul. (Koch) RMW

39. moe. The Conch
    The eighth album from the New York state band shows them at the top of their game. Witness moe.’s sense of structured, hook-driven rock as well as the band’s experimentation with the form. Most of the songs, which run between five and seven minutes, oscillate between concise pop and smell-the-roses jam rock. Meanwhile, the band sprinkles a series of brief sound-pastiche interludes throughout the album as a sort of sonic sorbet between courses. Simply put, this is terrific musicians playing in a well-appointed setting. (Fatboy) MS

40. Arcade Fire Neon Bible
    The Montreal-based band, Arcade Fire, was formed by husband and wife team Win Butler and Regine Chassagne. After receiving accolades for their debut release, they return with a dark, brooding collection of disconcerting, sometimes disturbing songs. Dense guitar work, somber pulsing church-like organs, and layered horns dominate the album. However, it’s the band’s lyrical themes that set them apart from other indie-rockers. While Funeral dealt with the shock of personal loss, Neon Bible finds the band moving into the anger stage. The emotional ground they cover has grown to include global concerns. (Merge) KS

41. Crowded House Time On Earth
    Time On Earth began as a solo project for Neil Finn but as he worked with Crowded House bassist Nick Seymour the idea of resurrecting the band surfaced. Mark Hart rejoined and Matt Sherrod replaced the late Paul Hester who took his own life in 2005. Neil Finn has an impeccable ear for pop hooks and sparkling melodies but he holds a slightly dark outlook on the world. This edge is intensified by Hester’s suicide. Although the music on the disc is beautiful, ethereal and occasionally exuberant there is no denying that a gentle sadness permeates most tracks. (ATO) RMW

42. Bettye Lavette The Scene of the Crime
    In 1972 Bettye Lavette went to Muscle Shoals to record what has been rumored to be a classic soul album. But it never made it out of the Atlantic Record label vaults. Lavette returns to “the scene of the crime” with this stunning soul album. Backing band The Drive By Truckers offer their reverential support on songs that don’t exactly ring confessional. Although Lavette admits to sins—mostly venial—she isn’t seeking forgiveness nor expressing remorse. Lavette’s performance is one of the most heart-wrenching examples of pure soul singing. (Anti) RMW

43. Ben Harper and The Innocent Criminals Lifeline
    Ben Harper and The Innocent Criminals have produced an album the old fashion way—with no luxury of time or cutting-edge technology. Lifeline was recorded in seven days at a Paris studio that sported a 16-track board with a missing channel and no updated computer editing and tuning equipment. So, Ben and the band played live with no overdubs and rehearsed during show sound checks. The band collectively wrote the songs. Harper wrote the lyrics and the exhausted band proved that, even under adverse circumstances, they create thoughtful, classic soul music that reaches deep into the heart. (Virgin) RMW

44. Fountains of Wayne Traffic and Weather
    Keeping intact its penchant for mixing catchy guitar-pop, clever lyrics, and a buffet of pop culture references, Fountains of Wayne approaches its subjects from unusual angles, focusing on the minute indignities of various bureaucracies. “Yolanda Hayes” pokes fun at the DMV in the guise of a romantic obsession with the title clerk. “Michael and Heather at the Baggage Claim” is a snapshot of a couple’s frustrating day of air travel. The music remains fresh and varied, from energetic alt-rock to bouncy pop to folk-rock. Produced with “winking” sarcasm, this record is remarkable fun. (Virgin) MS

45. John Hammond Push Comes to Shove
    After 45 years in the business and 30 albums, blues mainstay John Hammond doesn’t need to pander to a younger crowd to keep his career alive or lively. However, Hammond chose to sign up Philadelphia groove/blues/rocker G. Love to produce his new record, Push Comes To Shove. Love, who counts Hammond as one of his heroes, produced with a light touch, keeping the focus on Hammond (although he duets on “Tore Down”) and encouraged the veteran to include more originals songs. G. Love says of the album, “It’s raw, it’s dirty, it’s blues, but it still has a funky edge to it.” (Back Porch) MS

46. Laura Veirs Saltbreakers
    Coming from the Northwest coast of the United States, it’s no wonder Laura Veirs’ new release, Saltbreakers, sails on nautical themes. Veirs’ backing band, Saltbreakers, play a big part in creating this delightful sound-scape (even singing a sailor-like chorus on the namesake track, “Saltbreakers”). This is a slightly different Laura than on her previous releases. This album was written while one relationship was ending and another beginning, so the themes are present throughout. The clever melodies are still there, as well as spot-on songwriting, but it sounds like Laura is maturing, sonically and personally. (Nonesuch) CH

47. Kaiser Chiefs Yours Truly, Angry Mob
    On their debut release the Kaiser Chiefs merely predicted a riot, but now they are a sincere, angry mob. Even though the mob in the title track can be easily swayed, there is nothing keeping these Brits away from delivering more mod-influenced rock. And, in actuality, there’s not much anger to be found on this album. It does pokes fun at the establishment, but with a humorous Brit-pop edge to it. This is probably not a coincidence, either, as Yours Truly, Angry Mob is produced by Stephen Street, a long-time collaborator of The Smiths and Blur. (Universal Motown) BS

48. Kim Richey Chinese Boxes
    Kim Richey’s latest release is a stellar example of this songwriter’s superior craft. Chinese Boxes surprises with turns of phrase and melody. It also displays Richey’s deft ability to integrate pop, country and rock into her unique sound. Giles Martin (son of Beatles producer George Martin) adds a layer of pop sheen to balance out Richey’s roots leanings. Always the collaborator, Richey shares writing credit with fellow songwriters including Joan Osborne and Mindy Smith. The 10 songs on Chinese Boxes reflect the intricacies and struggles of human relationships but Richey adds a tone of hope and sweetness to these affairs. (Vanguard) RMW

49. Midlake The Trials of Van Occupanther
    The college town of Denton, Texas, on the northern edge of the Dallas-Fort Worth “metroplex,” is the home base for this indie-pop quintet. But you’d never guess their present-day Texas roots from the music on this second album. Instead, you wouldn’t be faulted for thinking of bands like Fleetwood Mac or Crosby, Stills & Nash while listening because it’s a sound that the band intentionally cultivated on this record. Midlake’s stab at ‘70s folk rock suits their talents well. (Bella Union) MS

50. Jesse Malin Glitter in The Gutter
    Jesse Malin’s third release features ragged guitars, roots rock and elements of punk. Influenced by the likes of Steve Earle, Neil Young and Paul Westerberg, Malin’s own unique approach to making catchy rock borders on the classics of the genre but never sounds derivative. Bruce Springsteen, Ryan Adams and Jakob Dylan make cameo appearances. But it’s Malin’s ability to weave tales about the “down-and-out” of the world that power the disc. Malin’s nod of recognition to Lucinda Williams on the track, “Lucinda,” and a cover of The Replacements’ “Bastards Of Young” flow seamlessly on Glitter in The Gutter. (Adeline Records) KS

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