2004 Top 50 Artists

1. Patti Smith Trampin'
   Throughout her illustrious career, Patti Smith has represented the conscience of rock music. Her edgy, raw intellectualism continues to permeate her lyrics, creating an urgency that tears through her music. At age 57, Smith is still the poet laureate of the rock world, but she is also a concerned citizen who asks the question: "What does it mean to be an American?" Trampin' is her exploration of the American psyche at a time of new challenges and a declining sense of security. Smith opens with the optimistic "Jubilee," an invitation into the process of social change. She beseeches us to examine history in order to maintain our humanity and calls on the memory of Ghandi, Martin Luther King and William Blake for inspiration. While Smith's howling vocals can still call down the wrath of justice, she also exhibits a maternal tenderness. "Cartwheels" celebrates her daughter's youthful vitality, while "Mother Rose" is a lovely lullaby for her late mother. Smith wraps up the release with the title track, an old Negro spiritual that features her daughter, Jesse Paris Smith, on piano. Quietly, plaintively, Smith sings of hope in the face of adversity. (Columbia)

2. Joe Strummer & The Mescaleros Streetcore
   When Joe Strummer passed away unexpectedly of a heart attack in 2002 at age 50, the remaining members of The Mescaleros were faced with the prospect of completing his unfinished album. Their decision to release the recording comes as a blessing to Strummer's fans. Streetcore serves as a last will and testament as it celebrates Strummer's love of musical diversity and captures his fervent political spirit. From his days as front man for The Clash to his later solo work, Strummer championed integrating genres. Streetcore incorporates Jamaican dub, blistering punk and introspective folk. Strummer's maturity as a singer and man is apparent in his approach to Bob Marley's "Redemption Song," and the thoughtful and poignant "Silver and Gold." Strummer's rock and roll rebellion remains the core of this fiery, vibrant album. As he proclaims at the end of "Cast a Long Shadow," a tribute to his musical muse, Johnny Cash, "Somewhere in my soul/There's always rock and roll." (Hellcat)

3. Loretta Lynn Van Lear Rose
   Bold, brave and unflinchingly honest, Loretta Lynn has never held back in performance or when speaking her mind. At age 70, Lynn teams with garage-grunge king Jack White of the White Stripes to create a full-tilt, country-rock record. Encouraged by White to record her own material, Lynn produced songs that swing from bold altercations to bittersweet ballads. White's unfettered production is faithful to old-time country standards; weeping steel guitars commiserate with Lynn's broken-hearted vocals. When the gal is angry or defiant, bass strings pop and drums pound. Stories of the holler and long-gone memories are carried along by the sweep of fiddles. Lynn's autobiographical lyrics are funny, bawdy and incisive. Her collaboration with White may be Lynn's best work yet and confirms her enduring status as a music legend. (Interscope)

4. The Mavericks The Mavericks
   When The Mavericks emerged on the national scene in the early 1990s, their blend of rock, pop, country and Latin jazz challenged conventional concepts about country music. Despite a uniquely joyful and melodic sound and superb musicianship, the band received little radio airplay. After a six-year hiatus, The Mavericks returned this year with the support of a new label and the signature vocals of Raul Malo. Opening with the exuberant "I Wanna Know," The Mavericks is an infectiously danceable and hopelessly romantic record featuring lush string orchestration and high-spirited brass arrangements. Malo's incomparable tenor crooning brings to mind the love ballads popularized by Patsy Cline and Jim Reeves in the early 1960s. (Sanctuary)

5. David Byrne Grown Backwards
   David Byrne's latest seems to come from natural progression. After dabbling in many musical styles, he's created one of the most whimsical, yet focused, albums of his solo career. The success comes in the blending of his past ventures into orchestral and world-beat compositions. The opening track, "Glass, Concrete and Stone," sets the tone for what's to come; marimba punctuates a string section that ebbs and flows through the mix. Prominently featured throughout the album, strings offer an interesting counterpoint to Byrne's quirky, yet familiar, vocals. Whether he's performing an operatic duet with Rufus Wainwright on a song from Bizet's Pearl Fishers, covering the indie-country band, Lamchop, or singing his own subtly sarcastic lyrics, Grown Backwards is David Byrne at his eccentric best. (Nonesuch)

6. The Holmes Brothers Simple Truths
   Guitarist Wendell Holmes, his bassist brother, Sherman, and drummer Popsy Dixon have been perfecting their three-part harmonies for 25 years; but it took them just four days to record Simple Truths. Harlem blues, southern gospel and Detroit's Motown sound can be heard in the group's interpretations of songs from writers as diverse as Hank Williams, Bob Marley and Townes Van Zant. The band even covers Collective Soul's "Shine," and delivers an especially poignant rendition of Gillian Welch's "Everything is Free." Wendell Holmes proves to be a terrific songwriter, exemplified by the bittersweet ballad, "We Meet, We Part, We Remember." Simple Truths is simply a sweet, unpretentious genre-bending delight. (Alligator)

7. Patty Griffin Impossible Dream
   Patty Griffin is an expert in revealing beauty in pain. Her songs exquisitely document the brave struggles of the broken hearted, detail the battles of the floundering spirit and invoke the obscured hopes that lay dormant in the depths of loneliness. Blessed with a voice that flows between nuanced whispers to wildfire urgency, Griffin conveys worlds of emotion that ring so true you can feel the hollowness of regret and the surging desperation for redemption. Sparse arrangements - a solitary piano, a wistful violin - allow for reflection on the small, sad regrets of everyday life. Griffin's tender portrayals of human foibles are rendered with compassion, dignity and with the ultimate hope that salvation is possible. (ATO)

8. Belle & Sebastian Dear Catastrophe Waitress
   The Scottish group's latest CD bristles once again with its trademark melodic but quirky pop. A dozen songs about illicit trysts and a procession of increasingly obscure scenarios are set to a compendium of harmony-laden styles from '60s garage pop to '80s new wave. Despite the retro nature of its sonic buffet, the band keeps its own identity intact with inventive production and distinctively off-kilter lyrics. Even by the band's own high standards, Dear Catastrophe Waitress is engagingly entertaining music. (Sanctuary)

9. Toots and the Maytals True Love
   Reggae legend Toots Hibbert re-recorded songs from his nearly four-decade long history with a handful of amazing collaborators - from luminaries like Eric Clapton, Bonnie Raitt and Willie Nelson, to emerging stars like Ryan Adams, Trey Anastasio and Ben Harper. Unlike many such "guest star" albums, True Love is consistently entertaining and the guests make worthwhile contributions to the material. The album serves as both fond tribute and terrific jumping-off point for new fans to discover some classic songs. (V2)

10. Ron Sexsmith Retriever
    Despite the fact that Ron Sexsmith has won accolades for his brilliant songwriting from musical greats such as Paul McCartney and John Hiatt, he has remained relatively obscure. Now, at age 40, the Canadian seems to have reached his apex as a studio performer. Sexsmith delivers a collection of songs that deal with interpersonal communication, while hinting at darker themes of political unrest. Martin Terefe's production is decidedly organic. Undistorted electric guitars play over a framework of piano-driven melodies while Sexsmith's delicately plaintive vocals instill each song with charm and vulnerable optimism. One of the album highlights is Sexsmith's homage to 1970s-style soul, particularly Bill Withers, called "Whatever It Takes." (Nettwerk)

11. Angela McCluskey The Things We Do
    The Wild Colonials' success could largely be attributed to lead singer Angela McCluskey. Her smoky vocals and sinewy phrasing, along with her enviable lust for life and wicked sense of humor, contribute to her larger-than-life persona. McCluskey's charisma and enormous talent take center stage on this, her first solo release. Her selection of material reflects the depth of her personality - from the original "A Thousand Drunken Dreams" to a cover of The The's "Love Is Stronger Than Death." Whether wrapping herself around the album's subtle, inventive pop or the occasional offbeat torch song, McCluskey's magnetism makes this maiden voyage a party you won't want to miss. (Manhattan)

12. Los Lobos The Ride
    Los Lobos' 30-year musical journey continues with their 11th studio effort. The Ride is a stellar example of the band's ability to combine soul, rock, blues, country and Latin rhythms to create a uniquely signature sound. A roster of special guests, including Dave Alvin, Mavis Staples and Richard Thompson, offers a dab of individuality to the production while helping to create a cohesive sound that ties the tunes together. One of the releases' many highlights is an innovative melding of Los Lobos' "Wicked Rain" with the soul classic, "Across 110th Street," that features a mesmerizing vocal performance by Bobby Womack. (Hollywood)

13. Catie Curtis Dreaming In Romance Languages
    The Maine-born folksinger describes her songs as "pretty straightforward, emotional and hopefully intelligent," which sums up Catie Curtis' approach quite handily. Featuring a veritable who's who of the Boston coffeehouse music scene in its credits, the album focuses on various relationship hopes and (especially) fears, seemingly amplified following the arrival of her newborn daughter. Curtis' lyrics seem almost to represent an out-of-season New England shore town - full of all the lonely beauty and pained isolation such a setting might convey. (Vanguard)

14. My Morning Jacket It Still Moves
    The third album from this Kentucky group is a time capsule of sorts, a compendium of various retro styles - from The Band-esque melodic rootsy rock to '60s garage-psychedelia. There's something hypnotic in the way they braid their influences with a modern indie-rock aesthetic to straddle multiple worlds. Submersing yourself in this album, you suddenly grasp with delight and wonder over the stylistic changes that evoke different musical touchstones, sort of like a Woodstock-era drug flashback. (ATO)

15. J.J. Cale To Tulsa and Back
    The Oklahoma-born J.J. Cale returns home for his first studio album in nearly a decade and comes up with a healthy dose of his trademark laid-back songwriting and sharp, yet low-key, guitar playing. Though he sings about classic Cale themes - the party habits of nighthawks, for one - he also shifts gears into environmental and political issues as well. Regardless of his subject matter, Cale's seemingly casual grooves lend an air of comfort that feels both familiar and fresh - inviting you to sit back, put your feet up and relax. (Sanctuary)

16. Sarah Harmer All of Our Names
    On her sophomore solo release, the Kingston, Ontario, singer/songwriter tackles some ominous subjects with gently uplifting optimism. Recorded largely at Harmer's home, the makeshift domestic studio lends an organic quality to the record's sound, including a crackling wood-burning stove among the rustic aural elements. Moonlit woods and snowbound neighborhoods are vividly depicted in Harmer's bucolic lyrics. Her clear voice is used well throughout, with memorable falsetto parts and nice overdubbed harmonies. On All of Our Names, Harmer exemplifies strong dedication to the craft of songwriting. (Rounder)

17. Jesse Malin The Heat
    Jesse Malin's second solo release is distinguished by smashing pop hooks, power-house rock riffs and a decidedly New York City attitude. The gritty realism of the ultimate urban experience permeates Malin's passionate portraits of the disassociated, the freaks and the street kids who fight for survival. Drug use, abusive relationships, cross-dressing and loneliness are fodder for Malin's vivid city landscape. Writing with genuine empathy for his characters, he imbues their vulnerable existence with a sense of dignity and optimism. Malin's rusty-throated croaking - both dissonant and sweet - is the perfect Big Apple voice. (Artemis)

18. Nellie McKay Get Away From Me
    Teenagers can be insolent, sarcastic and blunt. With her audacious double-disc debut, Nellie McKay also proves that a teenager can be witty, informed and political. Add to that an outrageous dollop of talent and you have one of the most original and relevant releases of the past year. The 19-year-old rifles through musical styles that range from rap to cabaret ballads to soul and jazz-infused pop. Anchoring these wild transitions are McKay's lyrics. From the sardonic to the sweetly sublime, McKay skewers modern romance, reproaches hypocritical politicians and laments the impotence of the average schmuck trying to change the order of the universe. (Columbia)

19. Gomez Split the Difference
    It's hard to imagine the sleepy British seaside town of Portslade producing anything louder than the sound of crashing waves, let alone a rock album as rollicking as Gomez's Split the Difference. But that's precisely where the U.K. band headed to write and record its fourth studio release. Moving away from the experimental and often superfluous electronic sounds of its last album, the band returns to the blues and country roots that have been the base (and strength) of its sound. Embracing chicken-scratch guitars, fuzzy blues bass lines and tight melodies, Gomez proves that returning to basics rocks! (Virgin)

20. Madeleine Peyroux Careless Love
    Madeleine Peyroux's long-awaited second release pays homage to the craft of songwriting, but it is also an example of one singer's skill at personal interpretation. "I am in love with every one of these songwriters as well as their songs," says Peyroux of Bob Dylan, Leonard Cohen, Hank Williams and Elliot Smith. Peyroux's unique phrasing, while informed by musical legends Billie Holiday, Bessie Smith and Edith Piaf, never sounds derivative. The song arrangements are unobtrusive, acting as support for Peyroux's seductive vocals. Whether taking on a country standard, a Dylan classic or a moody Cohen waltz, Peyroux's sound is an extraordinarily unique experience that seamlessly combines cabaret, jazz and folk. (Rounder)

21. Eric Clapton Me and Mr. Johnson
    It can be argued that Eric Clapton has been preparing to make this record his entire career. It can also be argued that Clapton's career would not have been as inspired if it weren't for the music of Robert Johnson. It makes sense, then, that Clapton pays tribute to the mythic blues man not by merely imitating Johnson's acoustic finger-plucked blues recordings, but by creating with passion and reverence a more electric approach to 14 classic Johnson songs. Clapton's band includes long-time cohorts Billy Preston and Jerry Portnoy. (Reprise)

22. Jamie Cullum Twentysomething
    British pianist and vocalist Jamie Cullum is the brightest new star in the recently coined "new cabaret" music scene. Along with artists like Norah Jones and Diana Krall, Cullum infuses piano jazz with pop qualities. He showcases this concoction by mixing original compositions, like "All at Sea," with jazz standards and even manages to conquer audacious takes on artists as wide ranging as Jimi Hendrix and Radiohead. Cullum is a harbinger of piano jazz for a new generation. (Verve)

23. Steve Earle The Revolution Starts Now
    Perhaps fueled by the controversy created by his 2002 political album Jerusalem, and directly inspired by the war in Iraq, Earle is focused like a laser on current events with this release. Although his overtly political screeds are sharp, he's at his most effective when exploring issues from a narrative character's first-person perspective as exemplified by the truck-driver protagonist of "Home To Houston." As accompaniment for this lyrically-focused album, Earle sticks with the growling roots-rock that has helped make his reputation. (Artemis)

24. Finley Quaye Much More Than Much Love
    Mixing musical genres on an album is a challenging business, especially when you've been dubbed a reggae artist thanks to a successful debut release. While Finley Quaye's third release is his most cohesive to date, it only hints at the reggae shades that made him a star in the U.K. Quaye hones his songwriting skills by placing an emphasis on lovely pop melodies. Lyrically his focus is love ("Beautiful Nature") but he also mixes in a dose of political awareness ("Overriding Volunteer"). Standout track "Dice" features the vocals of Beth Orton and production by William Orbit. (Epic)

25. Edie Brickell Volcano
    Following 1994's Picture Perfect Morning, Edie Brickell put her career on hold to raise children, and the near decade-long break from recording allowed her to accrue a strong backlog of songs. The resulting CD, produced by fellow Texas native Charlie Sexton, is an engaging series of relationships held up to a prism, refracting an array of disparate moods. Volcano's melodies often strive for, and sometimes achieve, the jazz-folk fluidity of Joni Mitchell, while remaining largely consistent with the jam-rock of her days with her former band, The New Bohemians. (Universal)

26. Iron + Wine Our Endless Numbered Days
    Sam Beam, aka Iron + Wine, writes with a brooding spirituality and gothic romanticism that attests to his southern roots. Bucolic imagery combined with minimalist production and Beam's soft, reassuring vocals subtly guide the listener through provocative meditations on family, love and loyalty. Also at play are the much larger, but no less relevant, questions of mortality and familial legacy. On "Naked As We Came," Beam turns two lovers' laments on death into an intimate portrait of the true nature of devotion. Through his first-person accounts, Beam creates a glorious testament to the great mysteries of life and mortality. (Sub Pop)

27. Elvis Costello The Delivery Man
    Elvis Costello once again returns to his native rock 'n' roll stomping grounds on The Delivery Man, backed by The Imposters (with longtime sidemen Steve Nieve and Pete Thomas) and featuring striking guest vocals by Emmylou Harris and Lucinda Williams. Clever rockers abound in classic Costello style, but he also reclaims a few Rhythm and Blues songs he co-wrote but gave away (originally written for Solomon Burke and Howard Tate) and offers a new version of his delicate Oscar-nominated "The Scarlet Tide." This ranks among Costello's best albums since his material recorded with The Attractions. (Lost Highway)

28. Angelique Kidjo Oyaya
    Oyaya is the third part in a trilogy that explores the African diaspora through music. Having already examined African roots in American and Brazilian pop culture, Kidjo now focuses on the musical links between Africa and the Caribbean. With her husband, Jean Hebrail, Kidjo penned 13 songs featuring the island's wide range of musical styles including salsa, calypso, ska and meringue. Produced by Steve Berlin (Los Lobos), Kidjo's positive, optimistic energy rings universal, whether she is singing in English, French or one of several African languages. (Columbia)

29. Morrissey You are the Quarry
    |The phrase "Don't bite the hand that feeds" never applied to Morrissey; in fact, he's made a career out of it. You are the Quarry is his most solid effort in a decade. After an eight-year hiatus, Morrissey launches his latest release with an abundance of sarcasm and controversy. "America is Not the World," is a scathing love song to his newly adopted home. The album is fleshed out with topical rockers such as "Irish Blood, English Heart" and a plethora of tongue-in-cheek ballads. (Sanctuary)

30. Wilco A Ghost Is Born
    A strong collection of melody and maelstrom, the album is intended to be frontman Jeff Tweedy's exploration of identity in a troubled, modern world. Coming after Tweedy's well-publicized stint in rehab after over-rigorous self-medication for a chronic migraine problem, one can almost understand the identity crisis, as well as why most songs on the album conclude with a searing, feedback-drenched coda. Alternately accessible and distancing, delicate and coarse, beautiful and dissonant, A Ghost is Born is a challenging and rewarding work. (Nonesuch)

31. Kinky Atlas
    Latin alternative might be the best descriptor for this quintet from Monterrey, Mexico. Their music is an amalgamation of funk, psychedelic-pop, rock, electronica, jazz and trance, anchored by the band's Latin roots. Wah-wah guitars wail above driving organ lines, timbales break above textured electronic grooves, creating a sound that is both industrial and organic. English and Spanish lyrics liberally espouse political opinions and carnal invitations. Kinky's second release is a carnival of sound that will propel you towards the dance floor. (Nettwerk)

32. Mindy Smith One Moment More
    Mindy Smith's life story reads like a screenplay - the daughter of a minister, raised on the music of the church, loses her mother at an early age. She is drawn into the national spotlight by legendary country star Dolly Parton, after Parton is captivated by Smith's heart-wrenching rendition of Parton's classic ballad, "Jolene." So goes part one of Mindy Smith's career, which has produced a remarkably self-assured country gospel debut. Able to transition from hell-and-brimstone fervor to sweet reflection, Smith shows that her honest songwriting and vocal skills are as strong and unique as her story. (Vanguard)

33. Dolorean Not Exotic
    Portland, Oregon-based Dolorean crafted its debut CD around quietly intense tales of troubled Americana that are both beautiful and haunting. With a fluctuating lineup centered around singer/guitarist/songwriter Al James, the band creates a sound that is stark and atmospheric. Not Exotic isn't quite old-timey in style, but neither does it feel modern. It's the sort of album that can use "oft" instead of "often" in the lyrics and not sound precious. For listeners who favor fatalistic emotional power over volume, Not Exotic is a rewarding experience. (Yep Roc)

34. k.d. lang Hymns from the 49th Parallel
    If long-time Los Angeles resident k.d. lang is feeling homesick, she sure has found a beautiful way of expressing her longing. Choosing material from well-known Canadian musicians (think Neil Young, Joni Mitchell, Leonard Cohen) as well as lesser known but just as deserving compatriots (Jane Siberry, Bruce Cockburn, Ron Sexsmith), lang paints, in muted tones, a sonic portrait of a complex and beautiful country. lang adeptly mixes familiar tunes with more obscure works, and proves that it takes more than guts to convey new meaning to established songs. It takes talent. (Nonesuch)

35. The Damnwells Bastards of the Beat
    Nearly two years in the making, The Damnwells recorded Bastards of the Beat between stints in small New York City clubs. The Damnwells style of churning indie-rock filters through layers of alt-country, mid-90s distortion and timeless pop levity. Songwriter Alex Dezen lends a personal element to these genres. Mixing attitude with sentimentality, his lyrics alternately ring cynical and hopeful. Driving guitars give way to textured melodies that sound fresh and original, while also creating an atmosphere of comfort and familiarity. (Epic)

36. Josh Ritter Hello Starling
    The third album from the Idaho-born troubadour is quiet when necessary, but can be effervescent when it wants. The alternating moods - from the giddy waltz-time tryst "Kathleen" to the ominously stark story-song "Wings" - make for a riveting 11-song journey. "I'm not sure if I'm singing for the love of it or for the love of you," he confesses in "Snow Is Gone," neatly summing up his passion for his craft. A young songwriter this good is worth his road-worn acoustic guitar in gold. (Signature)

37. Keb' Mo' Keep It Simple
    Keb' Mo' is so good at what he does that it seems, well, simple. Don't be fooled. There is enormous skill behind his brand of pop-blues. His songwriting and arrangements are economical; his lyrics wise and witty, often poking fun at modern amenities that help alleviate the stress created by a bad case of the blues. His rich and welcoming vocals and his immensely likable persona are an enticing invitation to view the blues as a positive place to reinvent your perspective when dealing with life's more complicated moments. (Epic/Okeh)

38. The Finn Brothers Everyone Is Here
    Ever since Tim Finn's 1983 departure from Split Enz (a band he and his brother, Neil, formed) the pair have tracked a slow orbit around each other. Like musical comets, the two only occasionally collided into each other on mutual and individual projects. The resulting impacts produced an explosion of soaring melodies and confected harmonies. The Finns join up for their second joint release, the first in nine years, co-writing a mixture of sad and sweet songs that place emphasis on family ties and promises made. (Nettwerk)

39. Slaid Cleaves Wishbones
    After receiving praise for his brooding, folk-based recording, Brokedown, Slaid Cleaves decided to change direction. He chose producer Gurf Morlix, who has worked with Lucinda Williams and Buddy Miller, to oversee the project. "Slaid wanted a more muscular sound," explains Morlix. The follow-up release, Wishbone, is a buoyant experience, driven musically by a rock-oriented band that still offers Cleaves' clever word play and rollicking narratives about debasement and hope. Even in despair, Cleaves' characters maintain a sense of hope and humor. (Philo/Rounder)

40. Sun Kil Moon Ghosts of the Great Highway
    The languid river that is Mark Kozelek's music is a generally sparse affair with powerful emotional intensity. After his former band, Red House Painters, was forced into inactivity by legal issues, Kozelek formed the successor band, Sun Kil Moon. The band's debut is a riveting mixture of gentle electric guitars and lyrical sadness. While emotionally direct, Kozelek rarely takes the trodden path in his lyrics, preferring to make unexpected references to a procession of professional boxers or heavy metal guitarists. (JetSet)

41. Railroad Earth The Good Life
    The third album from the New Jersey band is a solid examination of American roots music and themes of faith and transition. The six-person band, playing a bluegrass/rock 'n' roll hybrid that often veers towards the Celtic rock of The Waterboys, mixes fine musicianship with tales of trouble and fear. Despite the ominous lyrics, the band displays a pervasive optimism and a buoyant sound that makes for an enjoyable listen. (Sugar Hill)

42. Various Artists Beautiful Dreamer
    Pittsburgh native Stephen Foster was America's "first full-time professional songwriter," according to the liner notes of this tribute CD. In embracing country, gospel and minstrel styles, he created his own genre of popular music. Foster's tunes are lilting affairs that float over lovely melodies. His lyrics are nostalgic; love, home and country are among his favorite themes. Raul Malo, Alison Krauss, Mavis Staples, Yo Yo Ma and Mark O'Connor are among the "dear hearts and gentle souls" who lovingly and tenderly render 18 of Foster's finest works. (American Roots)

43. Ryan Adams Rock 'n' Roll/Love is Hell Pt. 1
    As a follow up to his 2001 release Gold, Ryan Adams produced Love Is Hell, a collection of moody, introspective songs about the misery of love. When his record label rejected the work as too downbeat and asked for more rock 'n' roll songs, Adams grudgingly responded with Rock 'n' Roll - a series of rockers that features Ryan's musical influences such as Springsteen and The Strokes. By year's end, both Rock 'n' Roll and Love Is Hell were released (Love Is Hell in shortened form). Both won critical praise and kept fans of both the rocking and moody Adams satisfied. (Lost Highway)

44. Zero 7 When It Falls
    Remarkably warm and sensual, Zero 7's latest effort finds the U.K. performers and producers settling comfortably into the groove they established with 2001's Simple Things. Combining soul, jazz and a touch of down-tempo electronica, When It Falls matches a revolving quartet of soul vocalists with two producers who specialize in modern, understated instrumentation. While the technological blips and beeps enhance the exotic character of the four distinct voices, the effort maintains an organic feel reminiscent of 1970s soul-pop radio hits. (Atlantic)

45. Keane Hopes & Fears
    English pop-trio Keane is a bit of an anomaly. Although often compared to British pop sensations Coldplay, Keane's bombastic synth-pop grooves are more in line with the groundwork laid out by forerunner Ultravox. Keane's debut release, Hopes & Fears, is driven by the pounding piano playing of Tim Rice-Oxley. Lead singer Tom Chaplin's soaring vocals sounds more like a choirboy's exaltations than a rocker's wail. Songs build slowly and cautiously toward emotional precipices that, at their peak, become crashing anthems that tug at your emotions. (Interscope)

46. Ozomatli Street Signs
    The third album by the Los Angeles band Ozomatli is a fascinating potpourri of musical styles, blending rock, hip-hop, salsa and even jazz, into a unique sound. The band's multicultural backgrounds bring a wide array of influences into the mix, aided by guest appearances as unexpected as jazz pianist Eddie Palmieri, Moroccan vocalist Hassan Hakmoun and even The Prague Symphony. A melting pot of ethnic genres, political perspectives and a generous dose of energy, Street Signs would be just as appropriate as a block party soundtrack as it would for an activist street march. (Concord)

47. The Innocence Mission Befriended
    Like the mixture of beauty and sadness evoked by old Super-8 movies of people and places, the spaciously-textured songs which comprise Befriended are deeply bittersweet. And rightly so, considering the CD is inscribed to singer Karen Peris' late mother. Her lyrics are a prism of memories that are very affecting, particularly so thanks to Peris' delicate vocals and husband Don's understated guitar work. The Lancaster band has often been captivating during the 15 years since its debut, but rarely this compelling. (Badman)

48. Samite Tunula Eno
    Ugandan native Samite Mulondo's sixth album is a hypnotic and sweet collection of songs. Though it's dedicated to and largely inspired by his wife, who died last year, Samite's mood is of hope and serenity rather than sadness. He combines African and Westernized styles revolving around his kalimba (the African finger-piano) and flute playing, singing in Luganda, the language of his home country. Listeners cannot help but be buoyed by Samite's joy in music and his irrepressible spirit. (Triloka/Artemis)

49. Norah Jones Feels Like Home|
    Sophomore albums are never easy, especially following a hugely popular and acclaimed debut. On her second full release, Jones manages to stretch her stylistic range further, while still keeping in place most of the elements that attracted her fans in the first place. The 13 songs blend jazz, country, blues and classic torch singing. And although there's no single song with the punch of "Don't Know Why," the New York-based singer and pianist delivers a consistently strong release. (Blue Note)

50. Old 97's Drag It Up
    Bursting onto the alt-country scene a decade ago, Old 97's became the smart, sexy, high-energy representative of the genre. After flirting with commercial pop elements on recent releases, the band took a hiatus to "get married, have babies, release side projects, and build home studios." Drag It Up is a conscious return to the rockabilly and country roots that popularized the band. Rhett Miller's songs plumb more emotional depth than on past releases, but maintain a jubilant, fun-loving attitude. (New West)

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