2008 Top 50 Artists

1. RADIOHEAD IN RAINBOWS
   Some albums are acclaimed by critics, some albums are hugely popular with the public, but only a handful are genuinely earth-shaking in their impact. Radiohead’s In Rainbows is all three. The Oxford rock group continues their streak of recording albums of almost casual excellence. Their decision to release it directly to the public without a record label and letting consumers name their own purchase price—even a $0 price tag—caused a great deal of excitement, a little bit of imitation, and no shortage of hand-wringing and fearful chatter in the offices of established record companies. But despite the hoopla surrounding the distribution innovation, it’s Radiohead’s music that has the final word with 10 well crafted songs ranging from delicate to blaring rock. (ATO) MS

2. ROBERT PLANT & ALISON KRAUSS RAISING SAND
   The King of British Rock teams up with America’s reigning Queen of Bluegrass for one of the most unlikely and brilliant pairings in recent decades. Producer T. Bone Burnett pushes both artists beyond the realm of their respective genres, choosing songs that challenge and flatter the singers. Plant mastered harmony vocals for the project and his nuanced phrasing teases out a vulnerability missing in his earlier work. Krauss, who insisted on maintaining the integrity of classic songs, often sings lyrics written from a man’s point of view.  Her angelic voice swoops over rockabilly rhythms while Plant croons through folk and gospel numbers. Burnett’s echoing production creates a dark, ominous atmosphere. The stellar backing band includes Marc Ribot, Norman Blake, Jay Bellerose, Dennis Crouch, and Greg Leisz. (Rounder) RW

3. THE HOLD STEADY STAY POSITIVE
   Characters are the key to the songs of the Hold Steady. Stay Positive chronicles the behavior of people who act a lot like you, who may never understand their own motivations. The music is about the sound that propels these fateful tales, the steamy nights that sweat through classic rock guitar licks and sax solos. It’s the mystery in the harpsichord and the acceptance of the truth in Craig Finn’s vocal resignation. It’s his choice of language, the tongue of the average citizen, and his empathy for their matter-of-fact way of life. Finn is adept at resurrecting those crazy, debauched, days of youthful indiscretion underscored by searing riffs that channel Hüsker Dü, the Replacements and early Springsteen and the E Street band. (Vagrant) RW

4. KATHLEEN EDWARDS ASKING FOR FLOWERS
   Kathleen Edwards is the voice of the inarticulate masses. She conveys the swirling complexities of human emotions in direct and uncluttered language with wit, charm, and the occasional expletive. She takes the hopes, dreams, and fears of everyday, ordinary people and weaves them into superbly crafted songs and imbue her characters with dignity and humor. Stark landscapes emerge out of somber ballads and feisty attitudes spring up from hard-driving country rockers. Edwards’ voice isn’t a beautiful tool but it’s perfect for expressing the stories of struggling couples, the crippling damage of racism, and good old lustful yearnings. Edward’s maturation as both a songwriter and singer is apparent in these heartbreaking songs that rank with the best alt-country songs of the past decade. (Zoë) RW

5. COLDPLAY VIVA LA VIDA OR DEATH AND ALL HIS FRIENDS
   Coldplay enlisted the help of producers Brian Eno and Markus Dravs in pushing the group to new levels of experimentation on the band’s fourth release. The producers add depth, dark intensity, and foreboding to the sessions which took place in Latin America and Spain using a bakery, nunnery, magic shop, and church as recording studios. Viva La Vida or Death and All His Friends is populated by ghosts. The album’s lyrics are oblique, which allows for individual interpretation, but there is a sense of searching throughout. The album is structured as a song cycle with cuts flowing into the next and instrumental pieces bookending the completed project. Chris Martin eschews his falsetto for a lower register, which benefits the weightiness of the songs. (Capitol) RW

6. DEATH CAB FOR CUTIE NARROW STAIRS
   Benjamin Gibbard is an intense guy whose philosophy of life is couched in the knowledge that this life’s wonderful confusion will soon enough be silenced by the unerring aim of death. The band’s songwriter and lead singer demands that, in the meantime, we fall madly in love, have our hearts crushed, repeat the process, and ponder the finer points of existence. These thoughts permeate the lyrics on Narrow Stairs. Unlike their last album, the band recorded Narrow Stairs organically with all four band members present in the studio, each offering his input. These songs flow directly from the heart of the band to tape, sans overdubbing and synthetic barriers. Poppy melodies, swirling guitars, snap drumming, thumping bass, and Gibbard’s sweet, reedy vocals highlight the disc. (Atlantic) RW

7. MY MORNING JACKET EVIL URGES
   The moniker “jam band” carries with it expectations of a brand of music exemplified by the San Francisco groove of the Grateful Dead. Louisville’s My Morning Jacket is strongly influenced by the southern guitar revelry of the Allman Brothers, and Neil Young and Crazy Horse’s prairie passion. On their last studio album the band explored a psychedelic edge that took inspiration from Pink Floyd. This time out the band takes inspiration from Prince and modern R&B. The band’s songs are still built around fantastic guitar crescendo jams and Jim James’ distinctive tenor crooning and falsetto. New to their sound is synthesized strings and shiny pop production that converges with R&B arrangements. Evil Urges will challenge fans who are content to stay with the band’s original sound. (ATO) RW

8. DEVOTCHKA A MAD & FAITHFUL TELLING
      DeVotcKa, a Denver-based quartet, create complex melodies and match them with mysterious, evocative lyrics. The music is an amalgamation of old and new, urban and folk, cutting edge and traditional. Conventional rock instruments are paired with bouzouki, accordion, sousaphone, theremin, violin, trumpet, and toy piano. DeVotchKa’s musical vision stews up gypsy, mariachi, Slavic, and Greek ingredients and serves them on a bed of indie rock, progressive folk, and punk influences. A Mad & Faithful Telling is a wild and ravishing ride across cemented strip malls and dusty back roads, and is highlighted by witty social commentary, spiritual epiphanies, and emotional upheavals.  Singer/ songwriter Nick Urata leads his band of mad musicians on waltzes, marches, polkas, and ballads that offer messages that ring more bittersweet than cynical. (Anti-) RW

9. SHARON JONES & THE DAP KINGS 100 DAYS, 100 NIGHTS
      Dap Records strives to revive the essence of ’60s and ’70s soul and funk by using analog technology and period instruments. The Dap Kings are the label’s house band and Sharon Jones is the seasoned singer who fronts them. Jones began her career during the 1970s as a session singer for gospel, soul, disco, and blues stars. 100 Days 100 Nights is the glorious culmination of Jones’ experience and talent and the band’s enthusiasm and musicianship. Jones knows how to channel the sounds of Motown, Muscle Shoals, and Philly soul through sheer raw emotion. She wails, she moans; she knows how to nuance and cuddle a note. Dap King composer Gabriel Roth creates classic sounding songs that fit this impressive outfit. (Daptone) RW

10. FLEET FOXES FLEET FOXES
    Sub Pop refers to Fleet Foxes’ style as “baroque harmonic pop.” The first sound heard on their debut is a rising chorus of voices joined by acoustic guitar, organ, and banjo underneath a distinctly march-inflected rhythm, which keeps the progression of instruments on pace. By the time the band begins its crescendo-building harmonies on “White Winter Hymnal” it’s clear these five young men possess a sense of music history that incorporates ’60s- and ’70s-influenced folk rock as well as something much older. Fleet Foxes’ songs are loaded with bucolic imagery, shades of light and dark, and subtlety shifting moods. The exquisite simplicity of their music finds root in the canon of folk ballads that have inspired generations and reinforces the power of the human voice. (Sub Pop) RW

11. MARTHA WAINWRIGHT I KNOW YOU’RE MARRIED BUT I’VE GOT FEELINGS TOO
    The provocatively titled I Know You’re Married But I’ve Got Feelings Too presents a broader musical vision from the youngest of the Wainwright/McGarrigle clan and a growing sense of self confidence bolstered by maturity. I Know You’re Married… moves away from the acoustic sound and the raw soul-scuffed confessions of Wainwright’s debut. There’s still plenty of emotion raging around these songs but the scope is less self-obsessed.  Wainwright possesses an impressive vocal range; her voice swings from rugged, majestic peaks to whispery, twisted, nuanced depths. Her witty, sardonic lyrics pair up with sprightly pop production and the occasional folk ballad. (Zoë) RW

12. VAMPIRE WEEKEND VAMPIRE WEEKEND
    How did a group of recent Columbia University graduates manage to win the hearts of indie-music loving Americans everywhere? Take a little of Paul Simon’s Graceland; some sweet afro-beats; a bunch of catchy, well-written songs; and a closet full of designer polo shirts and you’ll find the debut album from Brooklyn-based Vampire Weekend. Songs like “Cape Cod Kwassa Kwassa” and “Oxford Comma” are great examples of the band’s sound, while the song “A-Punk” seems like an homage to the Ramones. This album is a solid debut—worth all the praise and admiration Vampire Weekend has received. (X1) CH

13. MICHAEL FRANTI & SPEARHEAD ALL REBEL ROCKERS
    Michael Franti is a man of great political passion and relentless optimism. His lyrics confront social ills, while his music is bombastically joyful. Even when dealing with life and death issues, there remains either an explicit or tacit accent on celebrating life. Recorded in Kingston, Jamaica with premiere reggae producers Sly & Robbie, All Rebel Rockers pulses with dub, reggae and soul beats, hip-hop rhymes, and a global vision. His message to the world is revolution through music, power through the word, and rebirth through unity. Zap Mama and dance-hall queen Cherine Anderson add to the festivities. (Anti-) RW

14. EMMYLOU HARRIS ALL I INTENDED TO BE
    After a 25-year hiatus, Emmylou Harris reunites with the man who produced her first 11 albums. Brian Ahern’s production emphasizes the spatial relationships between instruments and places Harris’ haunting vocals at the center of every song. Thirteen tracks written by a variety of talented writers highlight Harris’ ability to move between Celtic-tinged folk (Jack Wesley Routh’s “Shores of White Sand”) to country classic (Billy Joe Shavers “Old Five & Dimers’) to pop (Patty Griffin’s “Moonsong”). Harris shines on her own compositions as well as two beautiful songs co-written with Kate and Anna McGarrigle. (Nonesuch) RW

15. VARIOUS ARTISTS VERVE REMIXED VOLUME 4
    In 2002 Verve Records, the venerable jazz label, hit upon an idea to introduce their great artists to a younger audience. They invited current cutting-edge producers and DJs to remix classic tracks from Verve’s all-star roster. The continuing success of this project leads us to Volume 4. Dinah Washington, Astrud Gilberto, Sarah Vaughn, Willie Bobo, Roy Ayers, Ella Fitzgerald, and Nina Simone are joined by first time remixes of James Brown (by Kenny Dope), Marlena Shaw (by DJ Diplo), and Potato & Totico, a 12-member band renowned for their Afro-Cuban sound, are resurrected by Antibalas. (Verve) RW

16. ALEJANDRO ESCOVEDO REAL ANIMAL
    Having cut his incisors on the San Francisco punk scene of the 1970s, it makes sense that Alejandro Escovedo would return to his primal state. Teaming up with California-raised rocker Chuck Prophet, the pair wrote 13 songs that convey the emotional upheaval of a musician’s existence as well as traverse their shared musical path. Both are capable of flesh-ripping rockers that ring with autobiographical references (“Nuns Song” and “Chelsea Hotel ’78”) as well as sentimental alt-country ballads (“Sensitive Boys”). These songs burn with a fierce street intelligence and are enhanced by surprising rhythm and soul elements. (Back Porch/Manhattan) RW

17. JACKIE GREENE GIVING UP THE GHOST
    On his fourth release, California singer/songwriter Jackie Greene continues to expand his musical horizons, while still delivering his keen penchant for catchy melodies and smart lyrics. Gorgeous slices of Americana pop flow into songs that seem to be caught in a ’60s/’70s time warp, thanks in part to the participation of Grateful Dead bassist Phil Lesh. Steve Berlin, who produced Greene’s last album, steps in again as co-producer, and enlists fellow Los Lobos band mate David Hidalgo to help out on two tracks. Also returning is the rhythm section of bassist Davey Farragher and drummer Pete Thomas. (429) MS

18. CONOR OBERST CONOR OBERST
    Valle Mistico in Tepoztlan, Mexico, is renowned for its Aztec legacy and inordinate numbers of UFO sightings. It’s also the site for Conor Oberst’s latest solo effort. Recorded outdoors, Oberst captures the sound of chirping crickets, a very relaxed band, and the big sound of guitars and drums as they boom upward and outward into the open air. Oberst’s songs use exploration and destination as metaphors for emotional and psychic upheaval. “Sausalito” conveys a lover’s journey towards commitment while “Cape Canaveral” expresses a constant search for hope. Oberst’s musical choices run from alt-country rockers to subdued folk ballads. (Merge) RW

19. NICOLE ATKINS NEPTUNE CITY
    The title of this debut album celebrates Atkins’ hometown of Neptune, NJ, but its sound pays tribute to the lush pop of the ’60s (sort of like an American counterpart to the current wave of UK pop revivalists like Amy Winehouse, Duffy, and Adele). Blessed with a stunning voice, Atkins is equally at home on soaring energetic choruses as she is on sultry ballads. Neptune City is a great album and Nicole Atkins is most definitely an artist on the rise. (Columbia) MS

20. OLD 97’S BLAME IT ON GRAVITY
    There is something ageless about the Old 97’s. The band’s seventh album, the first in nearly four years, bubbles over with the same charismatic vitality of their earliest recordings and the original line-up remains steadfast. Originally pegged as purveyors of country-punk, the guys have evolved their sound to include surf guitar, straight-ahead rockers, and lots of punchy pop melodies with a touch of Latin rhythms peppered in for spice. Rhett Miller’s smart, funny lyrics empathize with the hapless romantic: the love-addicted loser who never quite learns the lessons of his failed relationships. (New West) RW

21. JOE JACKSON RAIN
    Joe Jackson reunites with band mates Graham Maby and Dave Houghton for 10 new songs that Jackson considers to be among his best. Jackson’s trademark piano melodies, biting lyrics, and edgy vocals power the recording while the other two instruments—bass and drums—lend support. Jackson sings with an urgency that translates to passion for whatever subject he’s tackling; among them are the complexity of love and the challenges of aging. Jackson’s signature cynicism remains sharp, but there are occasional glimpses of hope. Jackson recorded the album at Planet Roc, a former Communist-run radio station in Berlin. (Ryko) RW

22. JACK JOHNSON SLEEP THROUGH THE STATIC
    Jack Johnson delivers another frothy album that shimmers with happy pop melodies, love ballads and geo-politics; the album was even produced with solar power. Johnson writes in a stream-of-consciousness style that finds him leaping from one set of images to another while acoustic guitar, restrained piano, and brushed drum strokes loll you along on a lazy raft of rhythmic moods. Johnson’s love songs are intimate and leave you feeling like an interloper in a private conversation. Sleep Through the Static is a calming retreat from even the most hectically paced days. (Brushfire) RW

23. CARBON/SILICON THE LAST POST
    A terrific collaboration between Mick Jones (of the Clash and Big Audio Dynamite fame) and Tony James (of the punk band Generation X) in which Jones represents the carbon of human-played instruments and James represents the silicon of electronic sound manipulation. The pair perfected their approach releasing a series of under-the-radar albums and EPs for free download through their website, and The Last Post brings together the key elements of their music: thoughtful lyrics, catchy guitar riffs, and digital beats. (Caroline) MS

24. BUDDY GUY SKIN DEEP
    Buddy Guy influenced a generation of rock guitarists and here’s why. Skin Deep is resplendent with fiery electric guitar, smoking horn section and simmering macho bravado—in other words, everything a rocker emulates. Guy may be in his 70s but he is still at his peak. His voice is a beautiful thing—all passion, sex, and vulnerability. His cast of musical guests includes Susan Tedeschi, Derek Trucks, Eric Clapton, and Robert Randolph.  All the songs on Skin Deep, including seven that Guy co-wrote, are new, something Guy attributes to having more artistic control over the project. (Silvertone) RW

25. DAR WILLIAMS PROMISED LAND
    Dar Williams has created another album of shiny and refreshingly smart songs that feature infectious melodies, rhyming witticisms, and rich harmonies. Williams’ writing style feels conversational without becoming cluttered or distracting. The songs snap with sharp precision, jingly guitars, layered choruses, and Dar’s bright vocals. Brad Wood produces Promised Land with a crisp efficiency that makes Williams’ songs assessable without compromising the integrity of the lyrics. Travis McNabb (Better Than Ezra) handles percussion duties and Marshall Crenshaw, Gary Louris, and Suzanne Vega provide vocal support. Williams’ ballads shine with a spiritual core that highlights the redemptive nature of music.
    (Razor & Tie) RW

26. ELBOW THE SELDOM SCENE KID
    It may come as a surprise to many that this is Elbow’s fourth full-length album. Overshadowed in the US by other British bands like Radiohead and Coldplay, The Seldom Scene Kid has given the group the breakthrough they were looking for. This time the group, led by singer and songwriter Guy Garvey, stretched their sonic palate. The sound is Britpop with an edge, the orchestrations ranging from subtle to bombastic. Elbow has shown they are the top of their game—this year they beat out many of their fellow countrymen to win England’s prestigious Mercury Prize. (Fiction/Geffen) BS

27. LEVON HELM DIRT FARMER
    Levon Helm, with the support of his daughter Amy, pays tribute to the ones who “brung him,” his parents, family and the musicians who inspired his early love of song and harmony. Helm covers the songs of A.P. Carter, the Stanley Brothers, and a number of traditional ballads. Also included are current favorites Paul Kennerly, Steve Earle, and Buddy & Julie Miller. Having survived a decade of setbacks, including a fire that destroyed his home studio, the death of Rick Danko, and throat cancer, Helm sings with a voice that “is over halfway back” and full of a survivor’s passion. (Vanguard) RW

28. THE KOOKS KONK
    There’s no denying the Kooks on Konk. Recorded in Ray Davies’ Konk studios, the band returned with some of the catchiest melodies of 2008. Although barely into their mid twenties, the band’s confidence level is astounding; their stated goal for this album was to be big. They wanted songs like “Always Where I Need to Be” to come on the radio and “for people to literally have their heads blown off by them.” Hopefully, that won’t deter you from checking out the album—I assure you, it’s quite a safe and excellent listening experience. (Virgin/Astralwerks) CH

29. SHERYL CROW DETOURS
    Sheryl Crow’s life has been detoured a number of times over the past several years, including a much publicized romance and breakup with Lance Armstrong, a battle with breast cancer, and her recent venture into motherhood. Detours is a candid appraisal of Crow’s fight to overcome these obstacles while remaining open to love and life’s rich opportunities. She also confronts social and political issues with a sharp pen and some of the best pop melodies of her career. Ultimately, Detours is a study in faith. No matter the circumstances, Crow finds the positive in even the darkest moments. (A&M) RW

30. OKKERVIL RIVER THE STAGE NAMES
    Founding members of Okkervil River met in a New Hampshire high school, but began their career in the live music capital of the world: Austin, Texas. The Stage Names has brought them attention unlike any of their other albums (this is their fifth). This may be due to the fact that Okkervil River is known for having chorus-less songs. The same is true for The Stage Names, however, the melodies are far catchier and memorable than previous releases. “Unless It’s Kicks” leaves the listener humming its bars all day long—even if you are struggling to remember the lines. (Jagjaguwar) CH

31. RICHIE HAVENS NOBODY LEFT TO CROWN
    To be frank, Richie Havens has put out a lot of mediocre and uninspiring recordings over much of the last three decades. But that observation only underscores what an accomplishment this CD is, a triumph from start to finish. His voice is as strong as ever, and Havens proves both that he still can write superior songs and that he remains a song interpreter par excellence. (Verve Forecast) MS

32. DAN WILSON FREE LIFE
    Dan Wilson toiled in the rock/pop trenches, first as the front man for the band Trip Shakespeare, then for Semisonic. In 2007 he won a Grammy award for his work with the Dixie Chicks. Free Life is a superb solo debut that displays Wilson’s remarkable ear for elegant melodies, heart for romantic sentiment, head for thoughtful lyrics and a voice that is pure pop gold. Sheryl Crow, who appears on the disc, enlisted Rick Rubin to produce the record. Also joining the lineup are Sean Watkins (Nickel Creek) and Benmont Tench (The Heartbreakers). (American) RW

33. MIKE DOUGHTY GOLDEN DELICIOUS
    Mike Doughty, an accomplished poet and the former lead singer-songwriter for Soul Coughing, merges these two diverse talents on an album that is ripe with idiosyncratic songs that move between insightful ballads and percussive grooves. Doughty’s lyrics are witty, poignant, and pared to the bone, conveying complex imagery and emotions through a precise economy of words. He also plays with language by injecting strange gibberish elements into the rhythms of his music. Golden Delicious features a bigger band sound that is more commercially conducive than his previous work but still challenges the uninitiated ear. (ATO) RW

34. BAND OF HORSES CEASE TO BEGIN
    Band of Horses catches your ear sonically and lyrically on their less indie-rock sounding sophomore release Cease to Begin. The opening track, “Is There a Ghost,” manages to rip through you with the band’s quintessential sound while only containing three lines that repeat over and over again throughout its three-minute run. “No One’s Gonna Love You,” a heart-wrenching breakup song, fits the down-home country feel that a lot of the album has. With this album and their impressive debut, Everything All the Time, Band of Horses has proven themselves to be a band on the rise.  (Sub Pop) CH

35. K.D. LANG WATERSHED
    In the eight years since k.d. lang released an album of original material, the artist has become more contemplative and introspective. The songs on Watershed deal with love, but not in the unabashed manner of lang’s earlier releases. Here she maintains a level of detachment while singing songs that deal with intimate subject matter. Her phrasing is nuanced, her vocals restrained but resonant. Watershed also marks lang’s ascendancy to sole producer of her work as well as multi-instrumentalist. The music reflects her musical journeys and includes torch ballads, Brazilian jazz, sophisticated pop, and her unique take on country. (Nonesuch) RW

36. THE BLACK KEYS ATTACK AND RELEASE
    Since the beginning, the Black Keys have been known for their low-key approach to recording their albums. This time out, singer and guitarist Dan Auerbach and drummer Pat Carney took their two-man band to the next level via a weird twist of fate. They were contacted by Danger Mouse to put together songs for a new album by Ike Turner. But when Turner died last year, the project evolved into Attack and Release. Instead of producer, Danger Mouse almost becomes an unofficial third member of the band, blending his electronic elements in with the band’s signature blues-rock crunch. (Nonesuch) BS

37. JOAN OSBORNE LITTLE WILD ONE
    Joan Osborne reteams with Rick Chertoff, Rob Hyman, and Eric Bazilian who helped create her 1995 album Relish. Little Wild One is a celebration of the mad bustle and spiritual life of New York City. A variety of musical styles capture the mish-mash of the city’s populace while Osborne name-drops city locales. Her Kentucky roots find form in the musical arrangements that feature church-like organ, acoustic guitar, and her soulful vocals. Osborne’s delivery rarely evokes the raw passions of her early work but offers the subtlety of a seasoned singer who knows the power of unrequited yearnings.  (Plum/Womanly Hips) RW

38. JAMES HUNTER THE HARD WAY
    James Hunter, the British retro-R&B singer, updates, with uncanny skill, the sounds of Sam Cooke and Ben E. King. His latest album, The Hard Way, demonstrates that his talents as a songwriter and musician have depth and charm. After capturing a Grammy nomination for his last album, Hunter’s follow-up continues his love affair with old-school R&B, typified by catchy choruses and laid-back grooves that always keep Hunter’s expressive voice the center of attention. New Orleans legend Allen Toussaint joins Hunter on two songs. Hunter’s dedication to the genre helps affirms its timeless nature and cements its place in music history. (Hear Music) MS

39. DRIVE-BY TRUCKERS BRIGHTER THAN CREATION’S DARK
    Although their sound is labeled “Southern rock,” what’s striking about the group is their often emotionally naked lyrics wrapped in booming Neil Young-meets-Steve Earle music. These are songs about society’s beaten-downs trying to find shreds of hope in a confusing world. Whether singing about the ignored opening band at a concert, a war vet, or a meth addict, the band sings vividly and without judgment about their subjects. (New West) MS

40. AIMEE MANN @#%&*! SMILERS
    Aimee Mann takes on the glad-handers, yes men, and smiley cultural symbols that lure us into a sense of false security. The title suggests Mann’s furor at the level of passivity that this thinking creates and her songs follow suit. Whether she’s recounting the tale of a charming but doomed drug addict, warning against tempting but dangerous lovers, or simply acknowledging the hardships of everyday living, Mann draws you in with clever metaphors and ridiculously infectious melodies that underscore the irony in her songs. No one is more adept at putting a musical smiley face on a “Mr. Yuk” sticker. (SuperEgo) RW

41. MUDCRUTCH MUDCRUTCH
    Before there was Tom Petty & the Heartbreakers, Petty fronted the local Gainesville, FL, band Mudcrutch. They only released one single before breaking up in 1975, and Petty’s subsequent success made them an obscure footnote until the band unexpectedly reformed and released this debut album three decades after their demise. Not too far afield from Petty’s usual sound, Mudcrutch is looser and more “jam-rock” but top-notch musicianship keeps this band’s resurrection enjoyable. (Reprise) MS

42. BECK MODERN GUILT
    Efficiency is central to the new album from Beck Hansen and co-producer Brian Burton, aka Danger Mouse. Rushing by at just under 34 minutes, these 10 songs sum up a good deal of Beck’s past dalliances into an array of themes and genres. Both men are adept at playing with musical personas— Danger Mouse does so in his incarnation as half of the duo Gnarls Barkley. Both ransack the musical archives for inspiration, so it comes as no surprise that Modern Guilt is full of sounds that range from Beach Boy harmonies to Beatlesque waltzes to psychedelic jams. (DGC) RW

43. R.E.M. ACCELERATE
    Accelerate finds R.E.M. resurrecting the early, stripped down, rapid fire delivery of their youthful recordings with grown-up panache. Stipe, Buck, and Mills are more than capable of chewing up and spitting out three minute rockers that reverberate with flying buzz guitar, pounding bass, percussion, and serious indignation. At the forefront is Buck’s signature arpeggio guitar riffs that crisscross and slash against Stipe’s urgent calls to action. The band’s outrage at current political policies fuels the fury in their music and helps reinvigorate one of America’s best bands.
    (Warner Bros.) RW

44. SHE & HIM VOLUME ONE
    She & Him is actress Zooey Deschannel (Elf, Almost Famous) and M. Ward (the well respected indie songwriter). They met while recording a Richard and Linda Thompson song for a film soundtrack. Ward was impressed first with her voice and later discovered her songwriting. He got her to agree to a project, on which he then produced and performed. Volume One is a throwback to ’60s girl groups, traditional folk, and country & western. Highlights include “Sentimental Heart,” “This is Not a Test,” and a heart-stopping rendition of “You Really Got a Hold on Me”. (Merge/Double Six) CH

45. CHUCK PROPHET SOAP & WATER
    Chuck Prophet proves adept at creating empathetic sketches of struggling people, mixing tales of woe and lust with a wicked sense of humor. Soap & Water finds the veteran performer creating power-pop songs with plunking piano accents, backing girl vocals, campy organ refrains, and nasty word association lyrics. He includes a children’s choir and several introspective songs to balance the mayhem. Prophet quotes the late film director John Cassavettes in his liner notes: “I have a one-track mind. That’s all I’m interested in: love—and the lack of it.” It’s an apt summation of Chuck Prophet’s musical interests. (YEP ROC) RW

46. ELVIS COSTELLO & THE IMPOSTERS MOMOFUKU
    Elvis Costello’s new album is named after the inventor of the cup noodle; all you do is add water and you have a meal! That encapsulates Momofuku. Invited by Jenny Lewis (Rilo Kiley) to play on her record, Costello hijacked her troupe of players—which included Lewis’ bandmate Jonathan Rice, as well as Costello’s longtime collaborators Davey Faragher and Pete Thomas, and producer Jason Lader. Some songs were written during the sessions and the recording was done live with Lewis singing harmony in the booth with Costello. It’s raw Costello with just a dab of sophistication. (Lost Highway) RW

47. DUFFY ROCKFERRY
     On her debut, Welsh singer-songwriter Duffy spins back the hands on the musical clock with songs that conjure up pop and neo-soul grooves of past eras: a resurgence started by Amy Winehouse and Mark Ronson. People inherently want to like the original models more, but in this case Duffy outshines her predecessors, in part due to her world-weary vocals and delivery. Duffy’s sound is deeply rooted in the swinging ’60s era of girl groups like the Supremes and the soul of Dusty Springfield. Duffy collaborated with former Suede member Bernard Butler on much of the songwriting and production on Rockferry. (Mercury) KS

48. JIM WHITE TRANSNORMAL SKIPEROO
    Former model, surfer, taxi driver, Evangelical preacher turned singer-songwriter, Jim White writes music that reflects his unique world vision. Transnormal Skiperoo, a term White uses to describe a state of gratitude, overflows with dreamy, introspective imagery and psychedelic production. White delves into the precarious nature of love and happiness and searches through childhood memories in search of answers to elusive questions. He also strikes a delicate balance between sentimentality and quirkiness. Whether writing about the loss of innocence, describing a spooky southern graveyard, or examining psychic pain, White’s songs captivate and transport listeners
    to a world beyond their own. (Luaka Bop) RW

49. GARY LOURIS VAGABONDS
    Former Jayhawks front man Gary Louris has mastered the art of writing lovely blues-infused melodies and pristine harmonies. He also writes great alt-country rockers. Louris’ strength is his imagery; the man paints landscape portraits and then populates them with articulate characters. His songs maintain a mournful edge even when expressing something other than sadness. Black Crowe Chris Robinson’s production is reminiscent of the laconic Southern California pop-groove of the mid ’70s. Louris is backed by the Laurel Canyon Family Choir, a group that includes Suzanna Hoffs (The Bangles) and Jenny Lewis
    (Rilo Kiley). (Ryko) RW

50. JOHN FOGERTY REVIVAL
    Now that John Fogerty has moved beyond his legal and personal battles with former Creedence Clearwater bandmates, he’s produced a new record that revives his passion for writing songs that tackle complex subject matter including politics, war, and morality.  “Don’t You Wish It Was True,” the disc opener, provides a launching point for these views as Fogerty envisions a world of harmony and beauty. Fogerty’s unmistakable guitar riffs are matched by Benmont Tench’s masterly Hammond organ. Revival is more than just a nostalgic trip down memory lane; it’s a complete rejuvenation for John Fogerty. (Fantasy) KS

Support provided by: