2009 Top 50 Artists

1. NEKO CASE Middle Cyclone (Anti-)
   Neko Case's sound is timeless. Her music would sound right at home around Tom Joad's campfire and yet it's easy to imagine some future generation marveling at how well her songs have stood the test of time. Case offers bitingly cynical observations and stories of great poignancy. Her music is idiosyncratic and mixes pretty-faced melodies with minor key underbellies. Her songs explore complex personalities and contradictory behaviors. Central to the album's theme is the tenuous balance between nature and humanity, using natural disasters as metaphor for emotional upheaval. Case recorded the album in her Vermont barn and her liberal use of reverb sends drums crashing into the rickety boards while guitars echo through the rafters. Her utilization of a collection of "saved" pianos and chirping crickets add mystery and nuance to the proceedings. (RMW)

2. DAVID BYRNE & BRIAN ENO Everything That Happens Will Happen Today (Todo Mundo/Opal)
   David Byrne and Brian Eno began collaborating on Talking Heads albums and created My Life in the Bush of Ghosts, a keystone album in the world of electronic and ambient music. Everything That Happens Will Happen Today expands the concept of "gospel" music and has been dubbed "electronic folk-gospel." This doesn't mean you'll hear angelic choirs, pipe organ, or shouts of hallelujah. Eno has stated that he views gospel music as an act of surrender more than as an act of worship, and he demonstrates this belief by bending his song structure to submit to Byrne's harmonic style. (RMW)

3. ELVIS COSTELLO Secret, Profane & Sugarcane (Hear Music)
   Secret, Profane & Sugarcane is a study in American roots music, but originated with a commission from the Royal Danish Opera. Elvis Costello created a chamber opera about Hans Christian Andersen. In the process, he became enamored of the 19th century Swedish singer Jenny Lind, who toured the States in the 1850s. Costello was inspired to re-imagine his chamber music as it might have been played in that era. Hooking up with another voracious musicologist, T. Bone Burnett, Costello began recording original songs that mimic standard American fare, yet still feature Costello's distinctly menacing lyrical bent. Costello includes songs by other writers including Loretta Lynn, and a waltz, "Changing Partners," originally recorded by Patti Page and Bing Crosby. (RMW)

4. SAM ROBERTS Love at the End of the World (Zoe)
   Canadian Sam Roberts is critically and commercially acclaimed at home, but has acquired only a cult following in America. Roberts' songs find their roots in "heritage" rock, with a strong emphasis on melody and harmony, and a minimum of studio production. The band's structure is standard rock & roll—guitars, bass, and percussion, with a smattering of keyboard, mandolin, and harmonica. Lyrically, Roberts exhibits a flair for geographic imagery; Africa is featured prominently on "Lions of the Kalahari" and Mount Kilimanjaro rises up as metaphor on the ominous title track. "Detroit ‘67" and "Them Kids" reveals a thoughtful, witty songwriter. Mostly, Love at the End of the World is a frolicking affair with infectious tunes and lots of guitar jams. (RMW)

5. RAY LAMONTAGNE Gossip In the Grain (RCA)
   Ray LaMontagne continues to explore new genres in order to expand his folk-based repertoire. Gossip In the Grain reveals lighter lyrical touches, a departure for the earnest LaMontagne. "You Are the Best Thing," the peppy, horn-drenched, R&B-flavored opening track, sets the album's tone. "Meg White," a tongue-in-cheek ode to the White Stripes drummer, reveals a surprisingly playful side of the songwriter. "Hey Me, Hey Mama" features ragtime horns and theatrical arrangement. Spare, beautiful songs like "Sarah" and "Winter Birds" are indicative of LaMontagne's earlier work. Few singers can capture LaMontagne's passion and sense of hopeful desolation; Gossip In the Grain continues to maintain his high standard of excellence by offering evocative imagery while adding new dimensions to his music. (MS)

6. PHOENIX Wolfgang Amadeus Phoenix (Glass Note)
   Phoenix is a French band that sings in English. You know it when you hear the slightly accented phrasing of vocalist Thomas Mars in "1901." Mars sings sweetly against the backdrop of a powerful synthesizer, which is underplayed by a twinkling electric guitar. This song is one of many mind-blowers on the band's fourth full-length release. Just try not to fall in love with them when you hear "Lisztomania," a song based on composer Franz Liszt. You won't get sick of it even after 100 listens. Phoenix has captured a sound that is epic yet quirky, making it all the more memorable and addictive. This band is well on their way to being the French U2. (CH)

7. LEVON HELM Electric Dirt (Vanguard)
   Levon Helm is an American original who grew up a cotton farmer's son, became a rock icon, and survived a bout with throat cancer. Electric Dirt reflects his childhood of listening to music of The Grand Ole Opry and Sonny Boy Williamson. It reveals the values of the working poor and is informed by Helm's personal health battles. Helm's voice is authentic whether singing about the hardships of farming or about his own mortality. He breathes life into songs by The Grateful Dead, The Staple Singers, Happy Traum, and Randy Newman. He leaps effortlessly from blues to gospel to Appalachian hymns. Helm pays special tribute to Louisiana and welcomes New Orleans great Allen Toussaint as arranger on several tracks. (RMW)

8. DAVE MATTHEWS BAND Big Whiskey and the GrooGrux King (RCA)
   Big Whiskey and the GrooGrux King is a tribute to founding member LeRoi Moore who died last summer following an accident. His death came as the band struggled with internal problems and musical lethargy. The loss forced surviving members to confront their issues. They've responded with their most inspired album in years. Matthews offers sentimental ballads that reflect family life, but also provides rockers with propulsive drumming, thumping bass, and primal howl vocals. Producer Rob Cavallo shepherded the project and adds to the album's edgier sound. Much of Big Whiskey and the GrooGrux King was recorded in New Orleans, which helps explain why it sounds more like a celebratory march for LeRoi Moore than a somber elegy. (RMW)

9. RAPHAEL SAADIQ The Way I See It (Columbia)
   As one of the founders of the soulful hip hop band Tony! Toni! Tone!, Raphael Saadiq is no stranger to mixing older R&B influences into a contemporary sound. On his third solo studio album, he continues this effort. With a voice reminiscent of Smokey Robinson's, Saadiq glides through each track with fluid grace. Saadiq also plays guitar, bass, and drums on each track. Among those helping out are Stevie Wonder, Joss Stone, and Jay-Z. The addition of brass and string sections and back-up singers helps give The Way I See It its flashback edge. Saadiq is trying hard to preserve the classic sounds of R&B, while taking it into the future. (BS)

10. JESSICA LEA MAYFIELD With Blasphemy So Heartfelt (Polymer)
    Jessica Lea Mayfield's dark, minimalist debut captures the emotions of dawning adulthood when self-discovery collides with real-world expectations and disappointment feels like a life sentence. Mayfield's music is simple. She eschews elaborate production and her songs balance on a rope of reverb. Her plaintive, angst-ridden vocals create an atmosphere of hollowness. Mayfield's voice is subdued and flattens out on long, sustained notes as if she's resigned to the awful fate of her doomed relationships. Religious motifs drift through her lyrics as she searches for the silver lining in life. Black Keys guitarist and fellow Akron native Dan Auerbach takes the fledgling songbird under his wing, producing and playing on her debut. (RMW)

11. AVETT BROTHERS I and Love and You (Sony/American)
    I and Love and You is the Avett Brothers' treatise on love, communication, maturity, and responsibility. Brothers Seth and Scott Avett and bassist Bob Crawford examine the delicate bonds that connect us through familial or romantic love. Their raw mix of grunge, folk, rock, and bluegrass undergoes a bit of polishing by producer Rick Rubin, but still retains its enthusiasm. Melodies are built on acoustic guitar, piano, banjo, stand-up bass, and fiddle with muted percussion. Integral to the sound are the close harmonies of Seth and Scott Avett and thoughtful songwriting that captures the vulnerabilities of the heart. (RMW)

12. DAN AUERBACH Keep It Hid (Nonesuch)
    Dan Auerbach, guitarist of the Black Keys, recorded his debut solo release at his Akron Analog Studio. Keep It Hid offers nuanced and intimate songs that run the gamut from delicate folk-influenced ballads to raw rockers that rattle the walls. The album's atmosphere is dictated by the authentic sound of rebuilt 1950s recording equipment, which captures Auerbach's big echoing guitar riffs and lone-dog vocals. Weaving Delta blues with the raw emotion of garage grunge, and the hypnotic influence of psychedelic rock, Auerbach creates an album that sounds like a collision between the Louisiana Bayou and CBGB. (RMW)

13. THE DECEMBERISTS The Hazards of Love (Capitol)
    Yes, it's a concept album, but don't think of the arena-ready rock of Quadrophenia. Inspired by 1960s British folk-rock, the Portland-based band conjures an eclectic rock opera tale of love, death, and vaguely mythological imagery. This is a challenging record, both lyrically and musically, with few hook-filled pop songs to be found. Gone is the radio-friendly approach heard on previous albums. Here the draw is clever songwriting that mostly avoids preciousness. The band's creative high-wire act is made more impressive by the growth in the group's fan base in the wake of its release. (MS)

14. ROSANNE CASH The List (EMI)
    In the summer of 1973 Johnny Cash discovered that his 18-year-old daughter, Rosanne, was nearly illiterate in the ways of traditional American music. He compiled a list of "100 Essential Country Songs" and presented it to his child. What an astute student she's proven to be. The List features 12 songs that encompass folk, blues, gospel, and country standards rendered with sparse, mostly acoustic arrangements. Cash reverently breathes new life into chestnuts from Dylan, Haggard, and The Carter Family, and takes on the Patsy Cline hit "She's Got You." Bruce Springsteen, Elvis Costello, Jeff Tweedy, and Rufus Wainwright offer their services. (RMW)

15. ELVIS PERKINS Elvis Perkins in Dearland (XL)
    In contrast to his stark, intense, and introspective debut, Elvis Perkins in Dearland feels sunny, in the way a rainbow brightens a stormy sky. Perkins comes across as a musical Brothers Grimm. He weaves somber tales out of beautiful threads of language and melody. Perkins' song structure is folk-based, but he broadens his arrangements, introducing strings and a New Orleans brass band. Recording with his touring band, he enlivens accounts of loneliness and mortality with peppy tempos. Guitars jangle, harmonica pipes up, and violins keep harmony with Perkins' plaintive vocals. Sorrow never sounded so sweet. (RMW)

16. PHISH Joy (Jemp)
    Phish built their success by being adroit musicians who thrive on live performances. Their albums, while not exactly afterthoughts, serve more as a record of live songs in condensed form. Joy contains a number of concert favorites that benefit from the editing process. Songwriting duties are handled mainly by Trey Anastasio and long-time comrade Tom Marshall. Anastasio examines his struggles with drug dependency, but tends more toward retrospection than introspection with several songs leaning toward nostalgic longing. After a fiveyear hiatus, Phish picks up where they left off, mixing elements of multiple genres into their progressive rock. (RMW)

17. JENNY LEWIS Acid Tongue (Warner Bros.)
    Jenny Lewis' sophomore solo album has more of a live-in-the-studio, quick-and-dirty feel to it than either of her previous solo work or her albums with her band Rilo Kiley. Despite being intentionally a bit rougher rock & roll, rarely does anything sound diminished or low grade. Top-notch songwriting by Lewis and her collaborator/boyfriend Johnathan Rice (also a singer/songwriter in his own right) and a lot of energy propel this release head and shoulders above most albums. Throw in contributions by M. Ward and Elvis Costello and you have music not to be missed. (MS)

18. GOMEZ A New Tide (ATO)
    The British quintet, Gomez, defies simple categorization. They weave pop, rock, psychedelia, electronic, and folk into a hazy aural quilt that can be comforting if you don't mind the scratchy edges. A New Tide has a looser, more mellow feel than the band's previous work and allows for a few surprising twists and turns in the arrangements. The album's direction morphs from song to song and sometimes within a song. Many tracks begin acoustically, then build into swirling layers of psychedelic guitars or programmed elements. Gomez' intelligent songwriting, savvy production, and superb musicianship remain unchanged. (RMW)

19. K'NAAN Troubadour (A&M)
    Adversity breeds creativity and empathy in the world of rapper/hip-hop artist K'Naan. Raised in Mogadishu, the budding wordsmith endured the vagaries and violence of civil war before he reached his teens. His songs capture life under stress, but also celebrate the joys of youth. "Fatima" documents the infatuation between 12-year-olds, using a torrent of clever wordplay. "People Like Me" explores the conflicted emotions of his generation as they search out their place in a calloused world. "Take a Minute," a personal account of K'Naan's struggle, reveals his rich understanding of multiple cultures, world history, and human behavior. (RMW)

20. ANDREW BIRD Noble Beast (Fat Possum)
    Andrew Bird loves language. A listener can feel defenseless in the flood of his cerebral imagery which encompasses science, mythology, technology, and a bit of fanciful meandering. Matching his lyrical whimsy is his unerring sense of melody and inventive arrangements. Beyond the traditional assemblage of folk/rock instruments he adds clarinet, flute, organ, whistling, and multitudes of looped phrases. Bird's casually understated vocals are in direct contrast to his absurdly erudite wordplay. It's hard to stay focused on just the music or just the lyric as both are interwoven into Bird's grand musical fabric. (RMW)

21. PRETENDERS Break Up the Concrete (Shangri La Music)
    Chrissie Hynde may be breaking up the concrete metaphorically, but she isn't out to break new ground musically. Hynde's return to her native Ohio has resulted in songs that look inward or backward. She gets reflective on songs about lovers' commitment to each other and the consequences of personal choices. However, Hynde shines on harder rocking numbers that feature crisp electric guitar, rhythmic acoustic guitar, ripping bass, and chugging drum work. Break Up the Concrete proves that you can take the punk out of Ohio but you'll never take the Ohio out of the punk. (RMW)

22. WILCO Wilco The Album (Nonesuch)
    Wilco recaptures their quintessential selves on an album that bears their name. After a decade of exploring and experimenting with a variety of sounds, the band focuses on their musical foundation—great songwriting and rock & roll. There is a mellow tone to Wilco (The Album); brushed drums, whining steel guitar, piping organ, and lots of acoustic guitar replace the dissonant sounds of earlier releases. Jeff Tweedy, lead vocalist and songwriter, said the band allowed itself to sculpt the album in the studio by using overdubs and "using the studio as another instrument."(RMW)

23. GREAT LAKE SWIMMERS Lost Channels (Nettwerk)
    Great Lake Swimmers are a melodic folk-rock band that call Toronto home. Lost Channels was inspired by the mystery of the stretch of the St. Lawrence River known as the 1,000 Islands, a place of beauty where the band recorded much of their last effort. Their sound is built around Tony Dekker, whose ethereal voice guides the listener through each track and complements the band's sound. Nick Drake and Iron and Wine are the most frequent comparisons, but there is something compelling and unique about each song that continually draws the listener back. (KS)

24. MARK KNOPFLER Get Lucky (Reprise)
    Mark Knopfler revels in the lives of lorry drivers, itinerant workers, gamblers, and sailors. Get Lucky plays like a novel; each song is a chapter, the lyrics are the narrative, and the music the adjectives. Knopfler pulls from his childhood in Glasgow to find the right accent or slant of light for his stories. Knopfler is one of the finest guitarists to grace a recording studio, so expect nothing less than gorgeous playing. His pristine production highlights individual instruments and textures. Nostalgia is a common theme and is bittersweet. Knopfler notes how the changing world creates isolation in its wake. (RMW)

25. BLACK JOE LEWIS AND THE HONEYBEARS Tell ‘Em What Your Name Is! (Lost Highway)
    Black Joe Lewis sounds like he was raised on a heavy musical diet of equal parts Wilson Pickett and James Brown. Along with his excellent band The Honeybears (which includes an eight piece horn section), Lewis brings 10 tracks of funky R&B to his debut release for a label. The music is soulful and upbeat, making it nearly impossible not to move while listening. As much as it is steeped in "classic" R&B, it's a very fresh and modern sounding album with its fast-paced, almost punk-like intensity and use of distortion. (BS)

26. BUCKWHEAT ZYDECO Lay Your Burden Down (Alligator)
    Accordion player Stanley Dural, better known as Buckwheat Zydeco, has had an up-and-down career during the past 30 years. His latest release, however, ranks among his best. Although boosted by guest musicians like Sonny Landreth, Trombone Shorty, Gov't Mule's Warren Haynes, and Steve Berlin of Los Lobos (who also produced), this album is more roots party jam than star-studded variety show. Solid material like covers of Memphis Minnie, Jimmy Cliff, and Bruce Springsteen—combined with some sturdy Buckwheat originals—buoy this enjoyable 45-minute trip to Cajun country. (MS)

27. DOVES Kingdom of Rust (Astralwerks)
    Doves may be England's best kept secret and they are probably fine with that. Among the myriad of flamboyant Brit-pop bands in the spotlight, Doves humbly play in the shadows. Kingdom of Rust is the fourth album from the Manchester group. With a quick listen, one could begin to compare them to their fellow countrymen. But, there is a depth here. This is emotional music laced with the occasional dance beat or progressive rock-style synthesizer. With each album this band gets better and better, so their time in the spotlight might not be that far off. (BS)

28. ELIZABETH & THE CATAPULT Taller Children (Verve)
    For a debut release, Taller Children is surprisingly sophisticated, incorporating jazzy riffs, pop hooks, folk, and neo-baroque elements. Lead vocalist Elizabeth Ziman possesses a clear, sweet voice that has won comparison to Dusty Springfield and Karen Carpenter. She's also a talented songwriter who creates catchy songs with smart, funny, ironic lyrics. The album focuses on maturity or the lack of it in both personal relationships and universal affairs. Producer Mike Mogis, noted for his ability to keep artists focused while remaining open to happy accidents in the studio, works wonders with this novice act. (RMW)

29. RA RA RIOT The Rhumb Line (Barsuk)
    Before they even released their debut album, Ra Ra Riot was struck with tragedy when they lost their drummer, John Pike. He accidentally drowned in the summer of 2008 at the age of 23. One would think that such a loss would translate into a somber album. However, The Rhumb Line is ladled with catchy string-heavy songs—each one more head bop inducing than the last. The music maintains a positive high energy throughout the recording. The album is a fitting tribute to John, who contributed to a lot of the writing process, including "Each Year" and the haunting "Ghost Under Rocks." (CH)

30. DEREK TRUCKS BAND Already Free (Victor)
    After a decade of touring and with five albums to their credit, the Derek Trucks Band headed home to Jacksonville, Florida to record Already Free. The album emanates its swampy environs, including chirping crickets on several tracks. The band's performance is organic and spontaneous and these songs pull from their core influences; gospel, soul, and electric and acoustic blues. They do offer a few new pop elements. Vocalist Mike Mattison's raspy vocals are a perfect match for Derek Trucks' signature guitar riffs, rumbling bass, and Wurlitzer organ. Susan Tedeschi offers contrasting vocals. (RMW)

31. CONOR OBERST & THE MYSTIC VALLEY BAND Outer South (Merge)
    After backing Conor Oberst on his 2008 solo album, The Mystic Valley Band are now acknowledged as full collaborators on their new joint effort. Outer South captures the chemistry that bubbled up between Oberst and the band during their live performances. Oberst shares songwriting and vocal time with several members of the band. Although they offer a few fun songs, it is Oberst's catchy melodies and cunning lyrics that stand out. It's hard to top his ability to capture ideas and atmosphere and his odd voice, all scratchy and grasping, matches the often barbed tone of his songs. (RMW)

32. SO KALMERY Brakka System (World Village)
    So Kalmery is an ambassador for brakka, an urban sound that emerged from his native Democratic Republic of Congo. Blending blues, jazz, funk, soul, gospel, and folk, brakka's melodies revolve around guitar, flute, and percussion. Kalmery is an extraordinarily agile guitarist and passionate vocalist. He mixes songs about colonialism and human rights with love ballads. Kalmery spent seven years letting the songs of Brakka System marinate and mature, but he recorded the album in just a few days with all the musicians playing together live. The sound is joyous, spontaneous, and its message of hope resonates, whether sung in English or Swahili. (RMW)

33. PEARL JAM Backspacer (Monkeywrench)
    Following in the footsteps of Radiohead, the grandfathers of the Seattle grunge rock scene from the 90s have self-released their new effort, Backspacer. This just might be their best studio effort since their landmark debut Ten. That, however, is where all the comparisons to previous Pearl Jam albums should end. Backspacer is filled with pop rock, stadium anthems, and a 70s rock sound that makes it feel like it was created by a much younger band. After a bit of a creative lull, Pearl Jam seems to be having fun again with songs like "Amongst the Waves" and the first single "The Fixer." (KS)

34. MAIA SHARP Echo (Crooked Crown Records)
    Maia Sharp is an intelligent songwriter who relays ideas, emotions, and stories with detail and insight while steering clear of triteness. She also has a great ear for melody. Although most of the songs on Echo deal with relationships and love, the album also focuses on Sharp's other favorite theme, the righteous outsider who challenges societal rules. The album sparkles with hummable melodies and a terrific line-up of musicians including Bonnie Raitt and Jim Keltner. Producer Don Was tempers Sharp's folk edges by highlighting her ear for pop hooks and anchors the production around her deep, luxuriant vocals. (RMW)

35. THE LOW ANTHEM Oh My God, Charlie Darwin (Nonesuh)
    The Providence, Rhode Island trio, The Low Anthem, opens their album with the stirring "Charlie Darwin." Sparse, yet powerful, the song captures the band at their very best; three voices harmonizing perfectly heartbreaking lyrics over a carefully played acoustic guitar. OMG,CD offers songs that range from quiet folk ballads ("To Ohio") to monstrous roots-rock anthems ("Champion Angel"). This young band has produced an album that shows the scope of their talent. (CH)

36. TV ON THE RADIO Dear Science (4AD)
    TV on the Radio's previous albums had so much going on musically that many wondered where the group would go next. Dear Science is the answer. Instead of their earlier sonic collisions, the group demonstrates their studio precision with a shift in method. TV on the Radio's "next level" shows off their depth—from the lushly reflective "Family Tree" to rockers like "Dancing Choose" and "Red Dress." Brass or stringed instruments accent each track and there's heavier focus on the vocal harmonies this time. It will be interesting to hear where they go next. (BS)

37. DAVID GRAY Draw the Line
    (IHT/Mercer Street) David Gray is an introspective songwriter who tackles big philosophical questions and personal quagmires. There is something windblown and ragged about his songs, a defiance that assures us that even in the face of defeat, there is dignity. The major theme running through Draw the Line is transformation, be it mortality or the mutations within a relationship. There is a brooding quality to Gray's writing; even his most intimate love ballads belie a moody underbelly. Gray balances the darkness with buoyant folk/pop melodies and epic sweeps of strings. Guest vocalists Jolie Holland and Annie Lennox offset Gray's rugged croon. (RMW)

38. RYAN ADAMS & THE CARDINALS Cardinology (Lost Highway)
    By choosing Cardinology as the title for this record Ryan Adams emphasizes this is a band effort but, as good as his fellow musicians are, Adams is the father of these songs. Rebirth and faith are the album's major themes. As always, you'll get a couple of heart-broken laments. The music rolls from alt-country twang to combustive rock & roll. Adams hasn't lost his knack for drama; in "Magick" he compares a relationship to nuclear war. We can only hope that's an over- the-top metaphor, but with Adams' history of love affairs you can never be sure. (RMW)

39. SUSAN TEDESCHI Back to the River (Verve/Forecast)
    There's nothing repressed about Susan Tedeschi's music. Her voice bubbles over with soulful exuberance and is buoyed by a defiant rock & roll attitude. She is also capable of nuanced and stylized vocals. She's surrounded herself with extraordinary musicians, a great producer in George Drakoulias, and has written songs that maximize her talent. Back to the River is a return to the style of record that launched Tedeschi's career—a collection of blues, rock, and R&B flavored songs. Tony Joe White, Derek Trucks, John Leventhal, Gary Louris, and Sonya Kitchell collaborated with Tedeschi during the songwriting and recording process. (RMW)

40. BRETT DENNEN Hope for the Hopeless (Dualtone)
    Up and coming California singer-songwriter Brett Dennen has stepped away from his 70s folk-inspired sound by writing more universal songs on Hope for the Hopeless. He infused the new recording with groovy jams, pop influences, and catchy melodies. Femi Kuti's presence on the Afro-pop drenched "Makes You Crazy" and the song's earnest lyrics set the tone for the new effort. Dennen's mellow grooves and opining about lost love, his quest for peace, and spirituality won't cause listeners to end the comparisons to Bob Dylan, Neil Young, or Van Morrison, but that's far from any bad association. (KS)

41. SON VOLT American Central Dust (Rounder)
    Jay Farrar's voice sounds like a dry wind that blows across prairie towns, picking up pieces of the landscape and spinning them out into designs of American life. His songs are descendents of those written by Woody Guthrie and Leadbelly. American Dust sounds like it might have been pulled down from your Grandaddy's top shelf after years of disuse. The lyrics are timeless as no generation has a corner on loss, be it jobs, love, or opportunity. Farrar gives us love waltzes, maritime disaster ballads, and country/rock parables. American Central Dust tips its dusty cap to American folk music. (RMW)

42. REGINA SPEKTOR Far (Warner Bros.)
    Once a prominent act in New York's freak-folk scene, Moscow native Regina Spektor exhibits new levels of maturity on her fifth album, Far. Enlisting famous producers (Jeff Lynne, Mike Elizondo, and Jacknife Lee), Regina makes modern life struggles feel like storybook scenarios. Far features fanciful melodies and some of Spektor's slickest production. It still offers her idiosyncratic touches like seal barking, her over the top vibrato, and her lyrics, which remain devastatingly sad. She manages to humanize God's sense of humor ("Laughing With") and create nostalgia over a found wallet ("Wallet"). She may have toned it down with Far, but she's still our Regina; strange and beautiful. (CH)

43. TAJ MAHAL Maestro (Heads Up)
    After 40 years in the music business you'd think Taj Mahal might rest on his laurels. Instead he's produced another superb album that features his unique intermingling of genres and his trademark growling vocals. Taj brings a fresh approach to classic songs and adds gravitas to new material. His musical acumen shines through on songs that encompass world, reggae, blues, jazz, and rock. Ziggy Marley, Los Lobos, Angelique Kidjo, and Ben Harper are among the stellar guest line-up. If ever you've wondered what makes an icon, this album holds the answer: talent, imagination, and a great spirit. (RMW)

44. BEN HARPER AND RELENTLESS 7 White Lies for Dark Times (Virgin)
    Ben Harper takes a hairpin turn on his new release by avoiding the sensitive folk/soul-based songs of the past decade for blunt force rock & roll. Harper does so with the help of Relentless7, a Texas-based trio who make music so raw it smarts like skinned knees. Harper's chemistry with his new band brings out a harder, more aggressive side of the singer, and his lyrics are piercing and less nuanced. His vocals burn with urgency, passion, and pent up frustration. The album, dominated by grunge, southern boogie, and rock, also offers a couple of soulful ballads. (RMW)

45. CHRIS ISAAK Mr. Lucky (Reprise)
    A quarter century after his debut, Chris Isaak remains true to the formula that made him a star. Isaak presents himself as the handsome loner who just can't win at love. No matter how hard he tries, our hero is mistreated, cheated on, and left broken hearted. He conveys his emotions with a catch in his falsetto as it sweeps up towards the sweet high notes. Isaak's mix of rockabilly, country, and pop highlight twangy guitars, brushed snare drum, brassy horns, and silky strings. His over-dubbed harmonies are interspersed with guest vocals by Trisha Yearwood and Michelle Branch. (RMW)

46. JJ GREY & MOFRO Orange Blossoms (Alligator)
    Orange Blossoms perfects the sound JJ Grey & Mofro have been working on together for some time. They have achieved a southern mixture of expressive and groovy soul, blues, swamp rock, and funk. JJ Grey's down home gritty vocals channel vocalists like Joe Cocker and Otis Redding. The lead off and title track sets the stage for a trip through the south and something both familiar and electrifying. It's the timeless feel of authentic music from a band that seems to be branching out with each new project that makes this effort one the best of 2009. (KS)

47. BOB DYLAN Together Through Life (Columbia)
    Dylan's always played by his own rules and he continues to do his own thing with more of the old-timey, bluesy swing rock that has been his almost exclusive sound in recent years. Although more than a few casual (and hardcore) fans prefer his older styles, no one can deny Dylan's unique charisma still shines through on his 33rd studio album. Collaborating with Grateful Dead lyricist Robert Hunter seems to have injected more grit and darkness into the material. It's not a trip for everyone, but there's plenty of fascinating terrain to explore. (MS)

48. MADELEINE PEYROUX Bare Bones (Rounder)
    Bare Bones is Madeleine Peyroux's most personal and revealing album. By exploring her troubled relationship with her alcoholic father, she examines the universal struggle for survival and self-worth. Under the tutelage of producer Larry Klein, Peyroux teams up with a number of noted songwriters including Julian Coryell, Joe Henry, Jesse Harris, and Walter Becker of Steely Dan fame. Peyroux's music intersects jazz, blues, and American roots music. Garnering inspiration from Billie Holiday, with whom she's been compared, Peyroux takes on the often harsh realities of a woman's life with honesty and bravery and still finds its silver lining. (RMW)

49. PAOLO NUTINI Sunny Side Up (Atlantic)
    Scotsman Paolo Nutini's sophomore release leaves behind the shiny polished pop of his debut. Sunny Side Up sounds like he's been flipping through the bins of a used record store for inspiration. Reggae, soul, country, and folk dominate the mix. The production, at times, is rough and ragged, but still offers surprising complexity. "High Hopes" floats on a bed of ukulele, harmonica, and tin whistles. Horns blare in the skiffle-influenced "Pencil Full of Lead." Nutini's voice has the resonance of someone much older, but the buoyancy of a young man. His songs defy era and offer an optimistic view of the world. (RMW)

50. CAMERA OBSCURA My Maudlin Career (4AD)
    Camera Obscura extends its reputation as a purveyor of broken-hearted pop ballads on the ironically titled My Maudlin Career. By marrying shimmering melodies with mortally-wounded lyrics, the Glasgow natives create songs so sweet and hummable that it's easy to ignore the dark storylines. Tracyanne Campbell's sweet voice hovers above the reverb-driven retro production reminiscent of Petula Clark or Dusty Springfield. Other influences include Phil Spector's wall of sound arrangements, Motown's soulfulness, and even a touch of country rhythm. Dramatic string and horn orchestrations emphasize the turmoil in Campbell's lyrics. (RMW)

The Top 50 albums were selected by WYEP's Programming staff: Cindy Howes (CH), Brian Siewiorek (BS), Kyle Smith (KS), Mike Sauter (MS), and Rosemary Welsch (RMW). Please note: Some Top 50 selections may be from 2008 due to our printing deadlines and when that release had its primary impact. Also, certain deserving late 2009 releases may have to wait until next year's list.

THE TOP 50 ALBUMS WERE SELECTED BY WYEP'S PROGRAMMING STAFF: CINDY HOWES (CH), BRIAN SIEWIOREK(BS), KYLE SMITH (KS), MIKE SAUTER (MS), AND ROSEMARY WELSCH (RW).

PLEASE NOTE: SOME TOP 50 SELECTIONS MAY BE FROM 2007 DUE TO OUR PRINTING DEADLINES AND WHEN THAT RELEASE HAD ITS PRIMARY IMPACT. ALSO, CERTAIN DESERVING LATE 2008 RELEASES MAY HAVE TO WAIT UNTIL NEXT YEAR'S LIST.

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