2005 Top 50 Artists

1. Beck Guero
   Beck Hansen may be the most enigmatic rock star of his generation. From the slacker-rap of Mellow Gold to the fun-house sounds of his Grammy-winning Odelay to the juiced-up funk of Midnight Vultures to the somber ballads of Sea Change, it’s impossible to predict Beck’s musical trajectory. Guero re-teams Beck with the producing duo the Dust Brothers and offers an exotic mix of genres, sampled sounds and moods. The album kicks off in high gear with the grinding, beat-heavy “E- Pro,” then bounces into the shuffling autobiographical “Que Onda Guero.” From here, Beck takes the listener through a labyrinth of styles; delicately arranged Latin-tinged laments are followed by thickly textured, distorted guitar-driven rock. Infectious pop melodies roll into raucous dance-floor rhythms. Guero is, by measure, humorous, melancholy, restrained and outrageously imaginative – in short, it reflects the maturing talent of its chameleon-like creator. RMW

2. Dar Williams My Better Self
   Although she began as a folk singer, Dar Williams’ sixth studio release is no troubadour record. Ignoring genre, she moves deftly between driving rock, intelligent pop, psychedelic folk, and even tackles sultry blues. Her roots are on display via her meticulously detailed lyrics, weaving with subtlety keenly-observed themes of politics, spirituality, and the power and beauty of nature. A hand- ful of well-chosen cover songs (of Neil Young and Pink Floyd) and guest stars (Ani DiFranco, Marshall Crenshaw, Patty Larkin, Soulive) add moments which are genuinely spine-tingling in their unexpected thrills. Even given Williams’ past recorded excellence, My Better Self truly lives up to its name: a richly rewarding effort from a masterful musician. MS

3. Ray LaMontagne Trouble
   One of the most impressive debut releases of the past year finds its roots in the acoustic rock of the 1970s. Inspired by a Stephen Stills song, Ray LaMontagne came to the decision that he would be a singer/songwriter and set out to accomplish this feat. With the help of producer Ethan Johns, LaMontagne fashioned a remarkable and unassuming record that elicits a depth of emotion through simple narrative detail and the singer’s quiet intensity. LaMontagne’s soft, raspy vocals suggest a vulnerability that suits the questioning nature of his songs. RMW

4. Billy Miles Billy Miles
   After several frustrating years as a self-described “science project” signed to a major label, Billy Miles left the record industry to pursue music on her own terms. Her venture into the independent L.A. club scene eventually led to a collaboration with hip hop producer Andre Williams. Together, the duo fused Miles' acoustic sound with an urban element to create a jazzy, trippy sound that invites comparisons to Eartha Kitt and Macy Gray. What makes Miles' self-titled debut stand out is its unique use of song sampling, catchy melodies and Miles' wry voice -- bruised around the edges, but alluring and seductive. This release showcases a singer who is ready to command the spotlight and make music just the way she likes it. SB

5. Mike Doughty Haughty Melodic
   After the breakup of New York City's beat-driven rhyming-rock outfit Soul Coughing, lead singer Mike Doughty seemed to fall off the radar from the sound he and his band helped create. Doughty's first widely-distributed post-Soul Coughing effort is reminiscent of the band's early days, but, lyrically it's reinforcement of Mike Doughty the clever, catchier and more mature songwriter. His play on words, phrases and hypnotic vocal repetition is entrancing. What makes this album a rarity is that there isn't a throw-away song on the disc. While his solo work is less off-the-wall than that of his previous band, Haughty Melodic is a great album of infectious songs. KS

6. Kathleen Edwards Back To Me
   The Ottawa singer/songwriter's second album is just as strong as her debut, perhaps even surpassing her first outing. Edwards fights her way through a maelstrom of past memories with people haunting her present. Though Edwards' singing alternates between vulnerable and self-assured, her style of country-leaning rock is fully confident. “I've got twenty bucks that says I'm gonna make it,” proclaims a song's bravado-filled narrator. One can't doubt such a genuine assessment about the songwriter, too. MS

7. Josh Rouse Nashville
   After departing his adopted home of Nashville for Spain, Josh Rouse pays tribute to his erstwhile home base with a fine collection of melody-driven songs. As befits an album named after Music City, Rouse's Nashville is full of unhappy souls who find – or attempt to find – redemption in music. The music delightfully retains touches of his previous retro album, 1972. But this timeless song writing deserves greater acclaim than Rouse is often granted. MS

8. Shemekia Copeland The Soul Truth
   Copeland’s fourth album is a well-constructed showcase for a stunning vocalist. Although much of the album is comprised of playful songs about romantic woes and misadventures, its centerpiece “Who Stole My Radio?” is a horn-punctuated upbeat soul number slyly lamenting the state of corporate broadcasting. Splendidly produced by legendary guitarist Steve Cropper, Copeland wraps her powerful vocal cords around each song with infectious zeal. “You better step aside, I’m a woman on a mission,” Shemekia belts out on the album’s opener, “Breakin’ Out.” It’s hard not to cheer her on. MS

9. Neil Young Prairie Wind
   Recorded in a former church and confederate morgue in Nashville, Prairie Wind fits nicely into the tradition of past acoustic-based classics like Harvest and Harvest Moon. Young conjures two images of “prairie winds” on the album: the winds blowing through his father’s rural childhood in Manitoba, Canada and the ones bending the amber waves of grain in the mythic fields of America where Young has made his home since 1966. From the powerful meditation of lost innocence on “No Wonder,” to the remarkable original hymn, “When God Made Me,” Prairie Wind shows that Young is as relevant and as creatively potent as ever. MS

10. Brazilian Girls Brazilian Girls
    Though Brazilian Girls’ self-titled debut was released on a subsidiary of the famed Verve jazz label, to describe the band’s sound as mere “jazz” would be as misguided as assuming that the group consists solely of ladies from Sao Paolo. Featuring one female in the quartet and no Brazilians, the New York City band playfully entices listeners to take a journey that seamlessly blends musical styles and cultures. Led by European-born vocalist Sabina Sciubba, who purrs and scolds lazy lovers and reluctant dance partners in no less than five languages, Brazilian Girls offer a breathless tour of late-night cabarets and pulsing international dance clubs. Self-assured and adventurous, Brazilian Girls is a sexy trip. SB

11. Coldplay X&Y
    The incredible Coldplay ride continues on their third studio effort, X&Y. The British quartet’s new project is all about staying grounded in the face of fame, mega sales and moving into arena band status. In the powerful opener, “Square One,” singer Chris Martin insists people are fundamentally the same no matter what their stature. Sonically, the band has shaken off the “Radiohead Jr.” knocks by paving their way with a massive and more precise sound. Lyrically, Martin grapples with human imperfection, missed opportunity and the need to reconnect with the soul. Through its message and music Coldplay have tapped an inner-chord with fans and produced another brilliant effort. KS

12. Andrew Bird The Mysterious Production of Eggs
    Andrew Bird, the Chicago singer/songwriter/violinist/whistler, continues to surprise with this release. Bird creates music unlike anyone else. This low-key album offers up unique arrangements that include strings, guitar, vibraphone, drums, and yes... whistling. Bird plays most of the instruments on this album and he’s also written all of the songs, which are poems in themselves with references to history, science and pop culture. There are many remarkable things about this release; and, each time around the listener discovers more new things, a ringing testament to Bird’s distinctive approach to music. BS

13. Ed Harcourt Strangers
    When Ed Harcourt was nominated for the esteemed Mercury Prize in 2001, he seemed destined for greatness. Two albums later, he met that achievement with Strangers. Following in the footsteps of Tom Waits, Nick Drake and Neil Young, Harcourt’s latest shows a maturing wild man who is experiencing love on an intense level. From the twenty-something anthem of “Born in the 70s,” to the sweet, romantic drinking song “This One’s for You,” his songs vary from gentle piano ballads to all out rockers. With potential like this, Harcourt may end up as one of the world’s great songwriters. BS

14. Erin McKeown We Will Become Like Birds
    Erin McKeown’s fourth album is a breakup record about reaching for greater heights launched from life’s low points -- a concept made literal by the fine track “Aspera,” referring to the Latin saying “ad astra per aspera,” or “to the stars through difficulties.” Thematically conjuring images of flight and the heavens, McKeown continues to shed the old-time qualities of her early song writing in favor of an engaging contemporary sound. We Will Become Like Birds may well be McKeown’s most coherent album yet, and certainly her most confident. MS

15. R.L. Burnside A Bothered Mind
    R.L. Burnside proved that you’re never too late to blossom, especially when defining your own category of modern punk-blues. He’d been performing since the 1960s, but producer Tom Rothrock helped him gain recognition especially with the 1998 release Come On In. A Bothered Mind is a follow up of sorts to that release, and, sadly, his last as Burnside passed away on September 1, 2005. A Bothered Mind features hip hop producers Mike E. Clark and Tino Gross. They create a mix of earthy and electric guitar work that incorporates electronic and hip hop elements. Bay Area underground hip hop talent Lyrics Born adds a word-tripping facet to the excellent “Someday Baby” that highlights the something-borrowed- something-new take on the blues. KS

16. Michelle Shocked Don't Ask, Don't Tell
    As boss of her own record label — as well as its star artist — Shocked is now free to invent her own rules after years of fighting with the major label to which she was formerly under contract. So, Shocked decided to put out three all-new albums simultaneously. This ostensibly rock-oriented CD (the best of the enjoyable trio) showcases her eclectic song writing, both in style and subject. Shocked moves easily between Dylan-esque storytelling, bluesy allegory, cabaret-flavored confessionals and punk-rock slide-guitar workouts, making Don’t Ask, Don’t Tell a smorgas- bord of musical delights that deserves to be both asked and told about. MS

17. Bebel Gilberto Bebel Gilberto
    Being the daughter of legendary Brazilian singers Joao Gilberto and Miucha, Bebel Gilberto is mindful of the mantle of tradition. However, she has not allowed her heritage to be the defining element of her developing musical persona. Bebel’s second release, recorded and produced by Marius de Vries (Madonna, Bjork, Annie Lennox), features smart, sophisticated songs that range from simple acoustic arrangements to elegant, electronic-tinged pop. Perhaps the most notable advancement in Gilberto’s career is her emergence as a songwriter, penning nine of the 12 songs that smartly combine contemporary sounds with classic Bossa Nova rhythms. RMW

18. Ben Folds Songs for Silverman
    The man who’s been creating cathartic music for the disenfranchised American middle class has passed through musical adolescence to grown-up pop maturity. Ben Folds has jettisoned the smart-alecky attitude of his earlier lyrics and replaced it with smart, clever, sometimes cryptic, often profound insights into suburban life, without losing his edgy humor. “Jesusland” is an enigmatic peek at America’s prevailing political landscape. Folds brilliantly dissects broken relationships in the songs “Trusted” and “Landed,” while “Gracie” – a love song for his daughter – finds Folds at his most tender and disarming. With an acute sense of melody and rhythmic piano work, Folds writes songs that make for addictive listening. RMW

19. Citizen Cope The Clarence Greenwood Recordings
    Clarence Greenwood, aka Citizen Cope, cut his teeth performing briefly with the artfully experimental hip hop group Basehead in the ‘90s. His second solo release features an engaging blend of acoustic guitar, hip hop beats and rock. His vocal style hovers between singing and rapping. Cope concisely crafts portraits of desperate individuals suffering through domestic violence and other challenges presented by the modern world. Despite exposing the hard reali- ties of life, Cope manages to maintain a sense of hope thanks to several beautiful love songs, and an ability to write engaging pop hooks with a troubadour’s ear for allegorical commentary. MS

20. Bright Eyes I'm Wide, Awake It's Morning/Digital Ash in a Digital Urn
    Bright Eyes is Conor Oberst and a rotating group of backing musicians. 2005 saw two releases from Oberst and com- pany, but beside spotlighting his singing and songwriting, the two discs couldn’t be more different. I’m Wide Awake, It’s Morning is a traditional all-acoustic album, featuring backing vocals from Emmylou Harris. Digital Ash In a Digital Urn is a lush electronic-based work that features a string quartet and the occasional drum machine. Together, these two releases show Oberst gravitating away from his emo-rock past and matur- ing into a songwriter with depth, range and vivid storytelling. BS

21. Son Volt Okemah and the Melody of Riot
    Jay Farrar returns after a five-year break with the full-band format of Son Volt. This time he’s got three new band mates and a rejuvenated sound that shows great leaps forward artistically and lyrically. Okemah and the Melody of Riot pays homage to Woody Guthrie on “Bandages and Scars” and, in the use of Guthrie’s birthplace -- Okemah, Oklahoma -- in the album’s title. Dark and brooding, intel- ligent and aggressive, Son Volt rocks in a raw and powerful way. Farrar’s famil- iar yet howling vocals will make old fans excited again, and win over new ones who are discovering alternative country for the first time. KS

22. David Gray Life in Slow Motion
    It’s been six years since David Gray catapulted onto radio stations around the world on the strength of the immensely melodic single “Babylon.” In contrast to that fast-forward breakthrough, Gray now takes a little more time to breathe on his eighth release. Life in Slow Motion’s opening track, “Alibi,” even references Gray’s biggest hit, noting that earlier “running wild” has evolved into quieter, more complex reflection. That sense of maturity is mirrored in the album’s lush orchestration, the fullest ever heard on a Gray release. Still, it’s Gray’s raw voice and lyrics that best capture a snapshot of a songwriter who enjoys taking the time to say what he needs to say. SB

23. Maia Sharp Fine Upstanding Citizen
    Maia Sharp’s third release highlights her song writing skills that have won accolades from her industry peers. The tone of the disc is established with the opening track, “Red Dress.” Co-written with Kim Richey, it deals with the struggle for individuality in the face of societal conformity. Sharp’s musical arrangements are uniformly diverse and excellent. The title cut is a nervy, angular jazz-rock tune that showcases Sharp’s sax skills. The beautiful “Fall Like Margarite” is a violin-tinged song with memorable swoopy melody lines, and “Come Back to Me” is a juiced-up piano ballad. As always, Sharp’s commanding voice anchors each song. MS

24. Solomon Burke Make Do With What You Got
    This new decade has been amazing one for the reigning king of rock and soul. In 2001 Solomon Burke made his way into the Rock & Roll Hall of Fame. A Grammy Award for Best Contemporary Blues Album in 2002 for Don’t Give Up On Me featured Elvis Costello, Tom Waits and others. Burke’s latest, Make Do With What You Got, rumbles and rocks with unabashed intensity. The release has a denser sound than previous efforts, a Memphis-style horn section and knobtwisting of studio master Don Was. Burke interprets Dylan, Hank Williams and The Stones with wide sweeping range of emotions that make this release classic soul, pure and simple. KS

25. Assembly of Dust The Honest Hour
    Recorded live at a single concert in early 2004, this rock quintet’s debut demonstrates both their musical chops and their penchant for strong, fluid melodies. Rather effortlessly, Assembly of Dust exemplifies the best in jam-rock by avoiding the pitfalls of self-indulgent noodling and maintaining its focus primarily on catchy songcraft. The Honest Hour is sure to please listeners both of the Woodstock generation or the Bonnaroo one. MS

26. Turin Brakes Jackinabox
    Distinctive vocals have always been the trademark of U.K. duo Turin Brakes. Falling sonically somewhere between Simon and Garfunkel and a pair of elves, the harmonies of Gale Paridjanian and Olly Knights sound off-kilter, androgynous and surreal. It is perhaps, what makes their music most compelling. On their third album, the duo have polished a dozen glistening pop songs to perfec- tion -- infusing folk-y AM radio funk with lyrics about sunny days and dragonflies. Beneath the warmth, however, lies a touch of sorrow. “They burned all the churches to the ground/But they can’t buy the sunshine,” muses the duo. And, the sentiment is as unexpected as the voices singing it. SB

27. Dolorean Violence in the Snowy Fields
    Upping the ante from its stark 2003 debut, the sophomore release from the Portland, Oregon-based group nudges its sound from simple folk-tinged storytelling towards a delicate roots-rock. The lyrics still retain their intensity and sharpness, but the words are now painted over a lushly-rendered landscape. This time around, frontman Al James’ plaintive voice is less central to the mood; instead, the vocals are frequently sugar-coated with harmonies. The violence is still present, but now it’s camouflaged in the beauty of the snowy fields surrounding it. MS

28. Eliza Gilkyson Paradise Hotel
    Not content to rest on the laurels of her last Grammy nominated release, Eliza Gilkyson returns with her most personal, political and powerful album to date. Her songs veer from sweet spiritual incantations to scalding recriminations against the current administration then back again to gorgeous, wistful love songs. Gilkyson transcends her folk label to encompass a more ethereal realm as she moves from anger to ardor. The centerpiece of this collection of songs is the track, “Jedidiah 1777,” in which Gilkyson recounts her ancestral grandfather’s service alongside George Washington. In doing so, she reveals the roots of her “progressive patriotism.” RMW

29. James McMurtry Childish Things
    The Texas singer/songwriter’s seventh studio album features some of James McMurtry’s finest songwriting as well as fiery observations on the state of America today. McMurtry unloads a craw full of anger and keeps the whole tirade bundled together with a chugging beat and enviable guitar-riffing. McMurtry is also concerned with time and the loss of innocence; the title song describes a man haunted by such changes, having traded in his carefree youth for a chair and stock portfolio. Always a gritty storyteller in his lyrics, McMurtry improves upon many past albums with memorable hooks and a musical edge to match his words. MS

30. U2 How to Dismantle an Atomic Bomb
    How to Dismantle an Atomic Bomb combines the classic 80’s sound of U2 with the finest elements of their 90’s experimental explorations. This new fusion combines the band’s latter day self-help messages with the slow-build grandiosity that exemplified its earlier releases. Guitarist The Edge reintroduces that echoey arpeggio guitar style which was a hallmark of 80’s U2 songs and figures it prominently throughout this release. U2’s political activities have always strived to dismantle both literal and metaphoric atomic bombs, yet in a creative sense they keep building them. MS

31. Charanga Cakewalk LoTeria De La Cumbia Lounge
    “I think finding true love is like winning the lottery. It happens, but it doesn’t happen to everyone every day.” With that statement Michael Ramos sums up the title and inspiration for his first solo project. Recording under the moniker “Charanga Cakewalk,” the multi-instrumentalist blends Mexican Cumbia and traditional Latin instruments with urban grooves and electronic wizardry with a dab of high-camp, a la Esquivel. Accordion, Spanish guitar, brassy trumpet, voice samples and even a classical reference or two make this release one of the most joyful, sexy, danceable and original musical experiences of the year. RMW

32. Amy Correia Lakeville
    The second album from the Brooklyn- based singer/songwriter is a geography tour of Correia’s experiences formed from sharp lyrics and an entrancing voice. From the title song’s ode to her New England hometown, to a recounting of her years in California to a moody postcard from “Coney Island USA,” Correia encounters one emotional crossroads after another. But, while the album is frequently laden with dark imagery, it rarely feels bleak; the enthusiasm with which Correia performs buoys each song much like the sepia-toned boat in which she’s pictured on the album’s cover. MS

33. The White Stripes Get Behind Me Satan
    Since their 1999 debut, The White Stripes have always been Jack White on guitar and vocals and Meg White on drums. There have been a few deviations from that simple line up, but not as extreme as on Get Behind Me Satan. The Whites both return, but play the piano, banjo and even a marimba, along with their customary instruments. This release broadens the limits of a two-person band and expands the boundaries of music all together. Mixing everything from bluegrass to arena rock, Get Behind Me Satan is clever, catchy and just a little quirky. BS

34. The New Pornographers Twin Cinema
    A shimmering example of progressive power pop courtesy of our neighbors to the north, Twin Cinema finds the Canadian septet and supergroup banding together once again to create oddball hooks and surprising melodies that twist and surge with energy. Core leaders Carl Newman, Dan Bejar and Neko Case trade moments in the spotlight; while each possesses impressive individual talent, Twin Cinema often feels like a loving group collaboration. While songs like “Sing Me Spanish Techno” and “Jackie, Dressed in Cobras” offer more lyrical puzzles than insights, the accompanying live-wire melodies and harmonies more than make for an instantly accessible listen. SB

35. Nickel Creek Why Should The Fire Die?
    The San Diego bluegrass band’s third album continues their evolution into more mainstream territory. Comprised of mandolin player Chris Thile, and siblings, Sara (fiddle) and Sean Watkins (guitar), the trio has been playing music together since before high school, but the now twenty-something performers’ musicianship far exceeds their years. A moodier record than the previous two (and their first without Alison Krauss behind the producer’s desk), Why Should the Fire Die? is a potent, genre-expanding record by three talented players that deserves to be heard by a wider audience. MS

36. West Indian Girl West Indian Girl
    West Indian Girl is a studio creation of musician/producers Robert James and Francis Ten. The band’s name -- derived from a 60’s strain of LSD -- implies psychedelia, but its musical range also encompasses jam band elements, Brit rock, and electronic twinges. Comparisons to The Stone Roses and Spiritualized come easy, but West Indian Girl’s self-titled debut is more coherent and accessible. It’s a stylish, richly textured effort that features lush guitar riffs, synthesizers and doses of chilled-out electronica. West Indian Girl is compelling enough for both a headphonic adventure or driving with the top down on a warm summer night. KS

37. Jackie Green Sweet Somewhere Bound
    Sweet Somewhere Bound is a rootsy, folk rock, blues effort from newcomer Jackie Greene. Comparisons to Dylan, Mississippi John Hurt and Johnny Cash are continually made, but Greene is hardly a pale imitator. Greene seems to have the unique ability to weave intelligent songs with themes of betrayal, loneliness and redemption into hook-laden melodies that creep into and stay in your head. The CD opens with the playful “Cell Block #9” and moves through a baker’s dozen tracks that reveal Jackie Greene to be a startlingly mature artist who has accomplished at the age of 25 what many aim to achieve in a career. KS

38. Martha Wainwright Martha Wainwright
    Martha Wainwright is the little sister/ daughter who is roaring, raging and cursing her way to critical acclaim on her own terms. Stepping into her family’s business -- Loudon Wainwright III and Kate McGarrigle are her parents and Rufus Wainwright her brother -- might leave a lesser writer in the shadows. But Martha triumphs with a remarkable display of musical individualism. Laying bare her foibles, she reveals herself to be both vulnerable and fierce in confessional lyrics about destructive relationships and dysfunctional family interactions. Martha’s raw, raspy vocals relay a maturity beyond her age, but still she manages to retain a sweetness that lifts the pathos and illuminates the indomitable spirit in her songs. RMW

39. Ry Cooder Chavez Ravine
    American history is built on the ghosts of communities that have fallen in the name of progress. Guitarist and producer Ry Cooder resurrects and pays homage to the Mexican community of Chavez Ravine that was bulldozed in the late 1950s to make way for Dodger Stadium. Cooder explores the culture and personalities that made this poor yet vibrant community memorable, and tackles the politics that led to its demise. Effectively mixing traditional Hispanic arrangements and 1950s R&B with modern ethereal production -- and inviting both legendary and contemporary Chicano performers into the project -- Cooder creates a unique ethnic American portrait. RMW

40. Rodney Crowell The Outsider
    Rodney Crowell is an acclaimed songwriter who learned his craft under the tutelage of Guy Clark and Gus Van Zandt. He’s a Grammy winner, a member of Nashville’s Songwriter’s Hall of Fame and an acclaimed producer. The Outsider is a shining example of Crowell’s craftsmanship. His catchy alt-country rockers dominate the release. Crowell wears his politics on his sleeve; his lyrics parody the greed, sloth and despotic attitudes he sees as dominating America’s national vision. He also takes clever swipes at the aging process in “Say You Love Me,” and offsets the angst with “Glagow Girl,” a lilting Celtic-tinged love ballad. RMW

41. Shannon McNally Geronimo
    Shannon McNally refers to her new collection of songs as “North American ghost music” and, you can almost hear the spectral figures moving through the rhythms they inspired. McNally’s music finds its roots in a myriad of genres, including southern rock, country, R&B, blues, pop and folk. Backed by a superb line-up of musicians and produced by Charlie Sexton, her songs run from rollicking jams to spiritually introspective ballads. McNally’s move to New Orleans inspired many of the tracks on the release and seems to have imbued her honey-dipped vocals with a touch of the Bayou. RMW

42. The Decemberists Picaresque
    The dictionary defines Picaresque as “involving clever rogues or adventurers especially as in a type of fiction” -- which appropriately describes the song characters on the latest release by the Portland-based band The Decemberists. From Eli, a depressed wheel-barrow boy who sells his wares, to the vengeful mariner trapped in the belly of a giant whale, each protagonist exists in his or her own lyrical poem (it helps that frontman Colin Meloy has a degree in creative writing). Each story is presented in the Decemberists’ style of theatrical pop that’s inspired by British folk, Kurt Weill and indie rock. BS

43. Tori Amos The Beekeeper
    “Music has always been healing for me,” explains Tori Amos. “I can really be in pain, then listen to or play music, and I feel things... ease.” With the tragic loss of her brother (“Toast” is a beautiful tribute to him), Amos has turned once again to her music and has produced another melodic, emotionally complex and allegorical album. Her lyrics deal with basic human concerns such as infidelity and abuse, but her underlying theme delves into the roots of Christianity -- its history and mythology and its current interpretation in the political world. RMW

44. Thievery Corporation The Cosmic Game
    Rob Garza and Eric Hilton are the Washington, DC, collaborators of the Thievery Corporation that make mid-tempo dance and beat-driven pop music. The Cosmic Game is another one of their many excursions since making a musical impact with DJ’s in 1997. The Cosmic Game dabbles in everything from jazz and funk to dancehall, bossa nova and even psychedelic sounds. Garza and Hilton have invited guest vocalist into the process, mining incredible performances from Wayne Coyne of The Flaming Lips, Perry Farrell and David Byrne. KS

45. Aimee Mann The Forgotten Arm
    Aimee Mann’s fifth solo record is a vividly-drawn concept album, a road trip across America by a drug-addicted boxer and his girlfriend seeking a better life. The pair go West while their relationship heads south over the course of a dozen songs, straightforward rockers produced by singer/songwriter Joe Henry. Mann, a recent convert herself to boxing as a hobby, packs a strong punch throughout this song cycle. MS

46. Elliot Smith From A Basement On A Hill
    Elliott Smith was working on this project until his death in 2003. His family and friends completed the song selection and the mixing of tracks. Smith’s acute sense of melody and harmony acts as counterweight to the tortured souls depicted in his lyrics. This final work is consistent with the rest of Smith’s excellent albums, and captures Smith’s brilliant, sad song writing. Due to the nature of its release From a Basement on a Hill may come off as bittersweet, but it is a fitting final release for an artist whose songs had a significant impact on his fans. BS

47. Bonnie Raitt Souls Alike
    Bonnie Raitt’s reputation proceeds her: She’s a brilliant guitarist, a skilled songwriter, a fantastic live performer and a unique individual who takes unequivocal stands on issues important to her. That accumulated information explains much about Souls Alike, Raitt’s first release since the death of both of her parents. Individual experience becomes universal understanding and the personal becomes political in a collection of songs that highlight several excellent songwriters, including Maia Sharp and Randall Bramlett. Raitt takes the words of these songwriters and spins them into beautiful narratives that speak to the dignity in living life to its fullest measure. RMW

48. Lhasa The Living Road
    Lhasa de Sela’s life plays like a nomadic bohemian rhapsody. Born in New York state to Mexican and Jewish parents, her adventures include an itinerant lifestyle that took her across continents and culminated in a stint singing in a French circus accompanied by an accordion-playing trapeze artist. The Living Road captures the atmosphere of those nights and encompasses the many cultures she wandered through and embraced. Sung in English, French and Spanish, her songs are sweetly melodic, delicately arranged and intimate. Lhasa’s sensual phrasing and smoky timbre convey her experiences in an exotic and beautifully melancholic world. RMW

49. Maktub Say What You Mean
    Taking its name from the Arabic word meaning “it is written,” Seattle band Maktub has a sound that is much harder to pin down than its namesake. Is it new R&B, old soul or funk-rock? The answer: a little bit of everything, with an underlying element of groove serving as the main undercurrent that connects the tracks. Vocalist Reggie Watts leads his fellow musicians from mellow soul ballads to blistering rock jams showcasing the fact that while their music may be hard to categorize, the band pulls it off with the finesse of old pros. SB

50. Nick CaveAnd The Bad Seeds Abattoir Blues/The Lyres of Orpheus
    The latest by Nick Cave and the Bad Seeds is two separate albums of new material packaged together. First, you have Abattoir Blues, a rock album and a return to their noisier past. It’s drenched in their unique style of blues/rock, complete with a gospel choir. On the other hand, The Lyre of Orpheus is in the vein of Cave’s more recent work. It is a sweeter, scaled-down album that leaves plenty of room to appreciate Cave’s lyrics as they drift from his smoky baritone voice. Together, they present the two different sides of the group’s 22 year history. BS

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