One of the many undeniable appeals of New York singer/songwriter Gavin DeGraw is his sultry, soulful voice, layered with a raw poignancy and surprising sincerity, that’s effortlessly wound around every melody to seep through his lips.  The J Records superstar has been on a decidedly major-label track since his debut release Chariot in 2003, and made the choice to scale back the production on his latest LP, Free.  DeGraw told Billboard,

“I just wanted to make a legitimate record, an artist’s record for an artist’s fans.  I didn’t want to saturate the tracks with overdubs and flying guitars and unicorns and shit. I wanted to keep everything out of the way and allow the songs to really be about what the songs are fundamentally, which is music and lyrics.”"

The result is a ten-song deep journey into DeGraw’s soul that may not find a place on the charts immediately, but will definitely satiate even the pickiest of fan pallets.

Billboard.com wrote,

“While making “Free” DeGraw reached back into his catalog to include early compositions such as “Dancing Shoes” and “Glass,” which have not been released but have become fan favorites through his live shows. He also finished a couple of songs, “Mountains to Move” and “Stay,” in the studio, [and] covered the late Chris Whitley’s “Indian Summer” as the album’s opening track.”

The combination of old material and newly reconstructed studio tracks suits DeGraw perfectly, and certainly lends to his credibility as a songwriter.

Free begins with a cover of the late Chris Whitley’s “Indian Summer,” a song that Entertainment Weekly called, “slow-burning.” There’s definite passion in DeGraw’s vocal that carries magnificently to the other nine tracks.  The title track follows with heartfelt lyrics like, “I am heartbreak and romance/the feather and the stone/I feel crowded/and alone/and I wanna be free…” His voice is pristine on Free but there’s still a sexy edge that leaves you wanting more.

The unfortunate draw-back to Free is the lack of tempo change.  Song after song is undeniably passionate and from the heart, but there’s little excitement in the arrangements, save a few shining moments on, “Lover Be Strong.”

DeGraw did manage to save an old gem for this record that’s reminiscent of Mark Cohen’s, “Walkin’ In Memphis.”  “Dancing Shoes” begins with a delicate piano and escalates into one of the only piercing hooks on the record.

While this may not be an official follow-up to hi 2008 release, Gavin DeGraw has proven his staying power with Free.  The label surprisingly supported it, critics seem confused by it, but fans love it, and in a world without frills that’s all that matters.  DeGraw’s brooding melodies and soulful expressiveness have satiated pop/rock appetites with for years, and Free is no exception.  A little old school, a dash of new, and heaping spoonful of authenticity makes this relaxed-fit album the perfect addition to his catalog.

If you’re into smooth melodies and passionate lyrics, make sure you check out this album, and please, do yourself a favor and give it more than just one listen.  Free is definitely worth it.

One sunny afternoon just north of Nashville, TN, the grit of southern rock fell in love with the energy of funk and the very essence of rock n’ roll. Their love grew and multiplied and a short time later, out of Bowling Green, Kentucky, was born Cage The Elephant.

Brothers Matt and Brad Schultz joined up with a high school friend Jared Champion, and family friend Danielle Tichenor. A few months later Lincoln Parish, an eager young musician, e-mailed the group several times asking to join. Subsequent jam sessions proved successful and Parish joined the group at the ripe old age of fifteen. Cage The Elephant began to conquer the local tour circuit, and after word spread of their high-energy, high-chaos live shows, they signed with Relentless Records. Since then, they’ve been working hard to release their debut album “Cage The Elephant” which dropped in the US June 23, 2008

Since 2007 Cage The Elephant has been touring and living in the UK where their first single, “In One Ear” debuted at number 26 on the Top 40 charts, and their intense live shows have earned them opening spots on tour with Kings of Leon and Queens of The Stone Age.

Now, that their self-titled LP has finally been released in the States, Cage is poised to take control of the American rock scene. The band’s organic melodies channel the likes of The Chili Peppers and outspoken lyrics mock their critics with a raw poignancy reminiscent of Dylan himself. On the opening track “In One Ear” the band claims, “They say that we ain’t got the style/we ain’t got the class/we ain’t got the tunes that’s gonna’ put us on the map” but subsequent tracks like “James Brown” and “Lotus” dispel any such rumors.

BBC reviewed the new record saying, “’In One Ear’ is a definite two fingers up at the music industry (”I’m an antisocial anarchist who sounds like so and so… Rock ‘n roll is dead I should have stayed at school”).” The story behind the lyric is, no doubt, one of the many things that draw fans to Cage’s live shows and helps to make the track so phenomenal.

Cage The Elephant continues the record with tracks like the fan-favorite “Tiny Little Robots” which channels “the kind of guitar playing that The Hives would appreciate,” (Contactmusic.com)and finishes everything off with the distinct, “Soil To The Sun,” a track that proves Cage is in it to win it with their haphazard enthusiastic rock.

While DrownedInSound.com called Cage The Elephant, “Kings of Leon 2.0.” nothing could be farther from the truth. While it’s true Cage shares geographical origins with Kings, the overall intensity and passion found in Cage songs such as “Back Stabbin’ Betty” and “Back Against The Wall” put the two bands in completely different categories; Cage is pure rock, while Kings have a distinct indie-edge.

Opinions aside, Cage The Elephant have made it clear that they are here to rock, and with their debut record, courtesy of Relentless, they’re not about to let anyone forget the fact. Online music source, Mirror.Co.UK described Cage’s magic perfectly saying, “[Cage] moves in demented unison, hits you with the force of a hurricane and doesn’t forget to drop killer riffs and top tunes.” Their energy smacks the listener in the face from the very first beat and keeps him coming back for more track after track.
Check out Cage The Elephant on iTunes, or sample some tunes for free on the band’s MySpace here.

Okay, here’s a quick question for anyone who may still be left unawares: which recent event helped to significantly narrow the racial divide? That is, what event other than the election of America’s first Black president? Give up? How about the first release by an African American artist on that esteemed Americana label, Lost Highway? It may not seem so significant at first glance, but with first listen, this debut disc by Black Joe Lewis & the Honeybears confirms the suspicions most folks knew along – that pure, unfettered, classic R&B is as much a part of American roots music as any other style borne from the heartland. And while prefacing his moniker with “Black” may seem like he’s expressing the obvious, Lewis’ ability to summon the spirit of classic R&B by invoking the power and passion of James Brown, Wilson Pickett and Otis Redding is awesome and impressive in itself. These ten tracks echo the sound of pure ‘60s soul, from the full-on funk of “Gunpower” and “I’m Broke” to the rock-steady shuffle underpinning “Master Sold My Baby” and the cool groove steering that “Sugarfoot.” With his band of twenty-somethings holding sway – think Booker T & the MGs and the sound of Stax Records – Lewis’ impassioned howl offers a sure sign he’s learned his lessons well. And if some of the songs reinforce certain stereotypes – “Big Booty Woman, “Get Yo Shit” and “Humpin’” being among them – suffice it to so that like his influences, Lewis isn’t timid when it comes to expressing raunchiness or wickedness. This Papa may not have a brand new bag, but he’s getting a lot of use out of it all the same. Lost Highway

Black Joe Lewis MySpace page

They’ve never had a hit or sold a ton of records, but the Blind Boys of Alabama have been making beautiful music for 70 years and running, so in lieu of the sold-out week at Madison Square Garden they deserve, this DVD – filmed during an appearance at the legendary New Orleans institution Tipitina’s last spring – serves as a suitable tip of the hat to one of modern music’s most distinguished careers. Fittingly, the Blind Boys were on the road promoting a CD, Down in New Orleans, that paid tribute to the city, and the show’s location also enabled them to enlist a passel of the Crescent City’s musical finest, including Susan Tedeschi, Dr. John, and the Preservation Hall Jazz Band. The production values aren’t the best you’ve ever seen, the sound mix occasionally wavers into muddy territory – and if you’ve ever been to Tipitina’s, you know that fitting all those performers on the club’s tiny stage requires some delicate balancing – but what Live in New Orleans lacks in polish, it more than makes up for with the performers’ obvious, bone-deep commitment to the music. There’s little showmanship here, just the performers’ decades of experience, but that’s more than enough for a damn fine show. Live showcases the Blind Boys doing what they do best, and functions as a nicely priced introduction for new converts, who will also enjoy the brief BET-branded documentary bonus feature. (Saguaro Road 2009)

Blind Boys of Alabama MySpace page

To coincide with Black History Month, our friends at Red Music have launched Red Urban Music, a new site that covers exactly what you think it covers: their urban artists. They just rolled the site out, meaning it’s not exactly swarming with content yet (a temporary problem, we assure you), so they did what all awesome web sites do in order to attract attention: they’re giving away cool stuff.

What kind of cool stuff, you ask? How does a digital camera, an iPod and a USB turntable grab you? If we weren’t forbidden from entering the contest, you can bet that we’d be going for that USB turntable so we can convert all of our old wax. Entering the contest will also net you some new tunes, so whatcha, whatcha, whatcha waiting for? Go here and get yourself a USB turntable.

Anne Weiss finds herself sitting comfortably in a blues folk style on this new release. On the quieter songs here, her voice often recalls that of Joni Mitchell’s, and at other times it’s gritty and soulful, making a unique contrast. This is well-played, well-produced music, but at times Weiss tries to hit a few notes that her delicate voice can’t quite muster, as on the opening track “Ain’t Got No Reason to Lie to You.” But then she turns it all around with something like “The Song About the Affair That I’m Not Having” and it’s hard not to want to hear more. Of course, there are also some seriously funky grooves on “Special Delivery,” which features beatboxing and a sweet brass arrangement. This is where Weiss becomes her own person and sheds the sounds of others. On the title track and “Write Me a Few of Your Lines,” Weiss hits a bluesy groove that is pretty strong as well, if only her voice didn’t seem to start losing it’s power on the latter track. Overall this is pretty good stuff that’s a refreshing break from the usual thing we hear from artists like Weiss. (Potter Street Records)

Anne Weiss MySpace page

Sometimes a record company, you know, steps in it. Because breaking new artists these days has become practically foreign to major labels, it sometimes takes a stroke of luck, or in the case of pop singer and songwriter Eric Hutchinson, the stroke of a buddy’s computer keyboard. Hutchinson, whose infectious, R&B-laced pop runs in the same musical circles as Gavin DeGraw and Maroon 5, was signed to Maverick Records before parent company Warner Brothers closed Maverick’s doors, leaving this talented dude with a sparkling product and no label to pimp it. But not to worry, he kept touring and then found overnight success when a high school buddy e-mailed a link to Eric’s music to celebrity gossip dude Perez Hilton. Just like that, Hutchinson went from no-name to peaking at #5 on the iTunes album chart, making him the highest charting unsigned act in the digital age. It’s no fluke, either. Sounds Like This, originally released on Hutchinson’s aptly titled Let’s Break Records, is just dripping with hooks, especially on the incredibly upbeat and soulful “You Don’t Have to Believe Me” and on “Rock & Roll,” the kind of track Jason Mraz wishes he could write. But even when Hutchinson brings down the volume, as he does on “Food Chain,” he can’t help but put you in a good mood. (Warner Bros./Let’s Break)

Eric Hutchinson MySpace Page

It takes stones the size of volleyballs to name an album by prefacing your own name with The Phenomenal, but that’s just what Ruthie Foster did with 2007’s The Phenomenal Ruthie Foster - and damn if she didn’t just about live up to her own advance billing. Now she’s back with The Truth According to Ruthie Foster, a set of songs just as authoritative as its title, and once again, Foster has given blues fans a hell of a feast. Truth was recorded at the legendary Ardent Studios, with Jim Dickinson behind the boards – and if that wasn’t enough, she cut the tracks with a backing band that included Robben Ford, Charles Hodges, and Dickinson himself. The end result is an album that comes as close to the old Memphis spirit as anything has this century, stacked with songs that run the gamut from fiery struts (“Stone Love”) to slow-burning strolls (“Nickel and a Nail”) – and makes room for a cover of Patty Griffin’s “When It Don’t Come Easy” in the bargain. None of these tracks will make you forget the classics they evoke, but they will make you feel like howling at the moon for awhile…or at least knocking back a few mint juleps. Sounds like honesty is still the best policy. (Blue Corn Music 2009)

Ruthie Foster MySpace page

Twenty-year-old Cameron Matthews is not much for pop hooks, but he sure has a gift for understated lo-fi beauty, not to mention confident, uncluttered vocals. Playing less like an album and more like a collection of his 15 latest musical loves, green. blue. white. effortlessly glides from the ‘50s R&B style of “Today I Love You,” to a the domestic Dylan exercise “Bungalow,” to the humorously titled but no less seriously excellent “Give You Up For Lent,” and even that “through the telephone” spooky blues effect on “Make it Rain.” The album really starts to approach classic touches by the fifth song and never looks back, culminating in the 6/4 rocker “Mirror” that channels Jeff Buckley filtered through Joseph Arthur in a jam with his bandmates – bassist Patrick Crecelius, drummer Danny Sher and guitarist Nicholas Risler – that breathes with the kind of dynamics one expects from veteran professionals. This talented Midwestern kid sounds like he has an earth-shattering album slowly gestating inside of him, and if green. blue. white. is any indication, he’s well on his way there. The fact that he’s more of a natural singer than most indie rockers will surely work in his favor in the long run. (self-released 2008)

Cameron Matthews MySpace page

Perhaps due to the waning days of the mortifying political regime we’ve been burdened with for eight years, not to mention ongoing economic palpitations that finally erupted into a full-blown global meltdown, 2008 turned out to be a pretty fantastic year for music. Classic R&B/soul sounds seem to be making a comeback, the indie kids have finally figured out how to absorb ’80s music influences in a more meaningful, less derivative way, pop music (whether or not it’s actually popular) is everywhere, and hard rock is finally seeing something of a resurgence (albeit only slightly at this point). Maybe it has more to do with the death knell sounding for the record industry? It’s pretty obvious at this point that while the CD business is pretty hurting these days, the music business is doing just fine, thank you very much.

Deerhunter: Microcastle/Weird Era Cont.
Most mature effort yet from this Atlanta-based five-piece, blending their shoegazer-noise art-rock into a more melodic and much mightier mix. It’s a two-fer as well, seeing as their third album Microcastle was co-released with the bonus Weird Era Cont., a move which, with all the drama surrounding this band, should surprise no one.

Airborne Toxic Event: Airborne Toxic Event
This band’s been compared to everyone from Springsteen to Franz Ferdinand, and I’m usually turned off by bands who sound like they’ve dug no further into rock history than 1983, but there’s something about this debut that keeps me coming back for more.

MGMT: Oracular Spectacular
Joyous, hypnotic, neo-psychedelic and catchy-as-hell. It’s pure ‘80s-influenced indie dance rock, but beyond the sheer grooviness of it all, MGMT is deeply experimental and hard to pin down (in a good way, of course).

The Black Kids: Partie Traumatic
Beyond the vibe – a Robert Smith meets Tom Tom Club kind of thing – it’s the songs that stand out on this fun and highly danceable album. Anthemic sing-alongs either work or they don’t. Here, they work…despite the occasional inane rhyming couplets.

The Hold Steady: Stay Positive
Craig Finn, Tad Kubler & Co. just keep getting better – and achieving ever-bigger heights – with each new release. Okay, Springsteen comparisons still abound…but those only pertain to the lyrical nature of the songs and Finn’s vocal delivery. The music is riff-heavy cock rock most of the time…and if anything’s desperately missing from a lot of new music, it’s that classic rock connection. “Our psalms are sing-a-long songs,” indeed.

New York Dolls: Live at the Fillmore East - December 28 & 29, 2007
Fully expecting to dislike this live set from late last year because it wasn’t the “real” Dolls, I think what I like best about it is hearing all these tunes with an updated sound, a sonic blast of power that the originals just never had – at least as you hear them on the original band’s scant recorded output. Whatever Johansen’s motivation, I only wish there were more than 10 songs!

Clinic: Do It!
Maybe these guys aren’t doing anything differently because…they don’t have to! Their retro fuzzed-out garage vibe just plain works. Still. Though I am a little tired of the surgeon’s masks, heh-heh.

Helio Sequence: Keep Your Eyes Ahead
A hell of a lot of noise for just two guys. Equally epic and spacey, they’ve actually achieved new heights with their blissed-out melodies, layered sonic wash and experimental but grounded approach. Beauty abounds here, even an acoustic side not always apparent on previous albums.

The Walkmen: You & Me
A great album from a great band. Softer than Bows + Arrows, but no less powerful. In fact, tempering the anger and bile (as in “The Rat”) has allowed them to find new depths in their fairly eclectic songwriting.

Spiritualized: Songs in A & E
Jason Pierce’s best since Ladies and Gentlemen We Are Floating in Space. Blistering, blissful and beautiful. Welcome back.

Bob Dylan: The Bootleg Series, Vol. 8: Tell Tale Signs - Rare and Unreleased 1989-2006
Forget about all that folk-rock protest-song ancient history. And don’t even mention the mid-period born-again Zimmerman. Late Model Dylan is where it’s at, as this awesome volume in The Bootleg Series proves.

Various Artists: Love Train: The Sound of Philadelphia
Oh yeah. This one was long overdue.

The Eels: Meet the Eels - Essential Eels 1996-2006, Vol. 1 and Useless Trinkets - B Sides, Soundtracks, Rarities and Unreleased 1996-2007
A decade of genius, really. Newbies should stick with Essential Eels, diehards can jump on Useless Trinkets.

In no particular order:

“The Legend of the Last of the Outlaw Truckers AKA the Ballad of Sheriff Shorty,” Dandy Warhols
If you think you’ve got this band pegged, one listen to this epic tale will set you straight.

“Surprise,” Gnarls Barkley
Upbeat, but with a definite ‘60s surf-vibe. Not as instantly classic as “Crazy,” but what is?

“Sure Hope You Mean It,” Raphael Saadiq
The opening track off this phenomenal album will blast you right back to Detroit (or Memphis) circa 1963.

“You Don’t Know Me,” Ben Folds w/ Regina Spektor
Perhaps the best song on this uneven set, it’s more touching than bitter, which is probably why it rises above most of the rest. Regina doesn’t hurt, either.

“Crawl,” Kings of Leon
A blistering slab of riff rock. Very nice.

“Right as Rain,” Adele
Lots of great cuts on this New British Soul chanteuse’s debut, but this is the one that does it for me every time. A unique and amazing voice.

“Dance with Me,” Old 97s
It’s been a while since I listened to Rhett Miller’s work. I guess it took amping up the volume, guitars and energy a bunch to do it for me again.

“Business Time,” Flight of the Conchords
This song about the monotony of married sex cracks me up every time I hear it, and it’s a good, well-played and -produced tune in addition to the laugh-out-loud funny.

“Wreck My Flow,” The Dirtbombs
Perhaps the best song on this not-their-strongest effort.

“Salute Your Solution,” The Raconteurs
A powerhouse of a jam, it’s a gritty sonic blast that’s better than anything on Icky Thump, that’s for sure.

Musically speaking, 2008 was all about nostalgia for me. Not only did my all-time favorite album get the reissue treatment, largely-forgotten genres like synth-pop and power-pop crept their way back onto my playlists. So in that spirit, I’ve compiled a year-end list with my top choices in 10 separate categories. Now if 2009 could only bring back hair-metal, I’d be A-okay.

Scar Symmetry: Holographic Universe
As out-of-control great as Scar Symmetry’s songwriting and musicianship proves to be on Holographic Universe, the jewel in their crown is without question vocalist Christian Alvestam. His death-metal vocal attack is an absolute force to be reckoned with. Its deep tonality and razorblade-kissed harshness drives the heavier sections with brute force. But what really makes Alvestam’s appearance a revelation are his cleaner vocals. It’s the kind of powerhouse voice that is usually reserved for AOR bands like Survivor, Toto, and Journey; not in a Swedish death-metal band. It definitely doesn’t sound like a great idea on paper, but when you hear the mixture of his melodic crooning and piercing guitars coming out of your speakers, your doubts swiftly fall by the wayside. Alvestam’s performance on the album is nothing less than a tour-de-force that should get praise from both the heavy metal and more mainstream hard rock/AOR communities.

The Foxglove Hunt: Stop Heartbeat
If you’re as devout a synth-pop fan as I am, you’ll know about the lack of quality groups releasing records these days. Throughout the late 1980s, it seemed like every major and indie label had at least two or three synth-pop acts on their rosters. Outside of die-hards like Depeche Mode and a handful of other groups (on the A Different Drum label), the genre has been relatively quiet. The Foxglove Hunt is comprised of Ronnie Martin (Joy Electric, The Brothers Martin) and Rob Withem (ex-Fine China) and the duo’s list of influences reads like a KROQ playlist from 1987. The dramatic Giorgio Moroder-styled keyboard melodies and Neil Tennant-worthy vocal performances make Stop Heartbeat feel like it comes from an entirely different era. “The Life Highrise” could have been on Dare while the fluid bass lines on “That’s Getting Personal” have Peter Hook written all over them. From start to finish Martin and Withem get it right. Even when they take on the Psychedelic Furs’ haunting “Love My Way,” the duo hits the mark.

Mudcrutch: Mudcrutch
After releasing an unsuccessful single in the mid-’70s, Florida jangle-rockers Mudcrutch went their separate ways. This, of course, wouldn’t be more than a mere footnote in the annals of rock-n-roll if the band’s singer/bassist wasn’t none other than a young Tom Petty. Now we all know how things turned out for Petty and his fellow Mudcrutch guitarist Mike Campbell, but most of us had only read about their former band’s work through the years. When it was announced that the Gainesville, FL rockers were reuniting for an album and tour, record geeks waited with bated breath. Mudcrutch didn’t disappoint. Reflecting the band’s love of southern and country-rock, the record is filled with ample amounts of lush vocal harmonies and twangy guitars. If the band would have released “Scare Easy” back when they were originally together, there might have never been the Heartbreakers.

Elbow: The Seldom Seen Kid
Elbow’s first three albums were all top 10 list contenders in the years they were released. But The Seldom Seen Kid is “album of the year” material from top to bottom. For one second just picture Peter Gabriel fronting Radiohead and you’ll have a good idea of what this British quintet is going for. Like the Gabrial in his Genesis days, vocalist Guy Garvey’s lyrical muse is suburban England. The songwriter shines a light on the every day tedium of life in the burbs on songs like “The Loneliness of a Tower Crane Driver” and “Grounds for Divorce” proving his work here is worthy to all the hype it’s been showered with lately. In “One Day Like This,” Garvey and Elbow have the song that Chris Martin wishes he wrote for Viva La Vida.

Gentleman Jesse & His Men: Gentleman Jesse & His Men
There’s something magical about the sound of a Rickenbacker busting out an open A chord. This 12-track collection of energetic power-pop is bursting with bubblegum sweet vocal hooks and the kind of guitars Chris Stamey and Tommy Keene championed back in their heydays. GJ & HM have every power-pop trick mastered, but everything is funneled through with garage-rock charm. Unlike the Raspberries, who had the majestic flair of Eric Carmen, the Georgia band’s rough and tumble performances instantly makes them attainable to the lo-fi and punk crowds. This stuff is strictly for fans of the Replacements, Big Star, and the Exploding Hearts.

The Mary Onettes: The Mary Onettes
From the look of my list this year, it seems like everything that was old is new again. Maybe it’s because I’m in my mid-30’s now or perhaps it’s a genuine disconnect with the palette a lot of newer bands are working off of, 2008 had me falling for the albums that looked backwards in terms of musical style. Sweden’s Mary Onettes must feel the same way I do lately. The glistening guitars, ringing bass runs, and melancholic choruses wouldn’t have sounded out of place on the soundtrack to a John Hughes film. Philip Ekstrom’s vocals quake and quiver on earwigs like “Pleasure Songs” and the completely addicting “Lost” making him a frontman to keep an eye on. Hopefully the band can find a label with a stronger presence in the States because I have a feeling these lads would be huge if more people had a chance to hear their hooky guitar-pop, they’d be huge.

Dillinger Four: Civil War
Dillinger Four are one of the few bands that most punk fans can agree on. The more fickle traditionalists go absolutely gaga for the Minnesota act’s streamlined and high-energy approach. But even listeners who take their punk with two helpings of melody in it adore D4’s hooky choruses. The road that led to the release of Civil War was a bumpy one. The album was mired by studio delays, day-job hassles, and even an internet leak. But boy, was it worth the wait. The filthy power-chords that kick off opening track “A Jingle for the Product” gets your blood boiling and it’s all butt-kicking from there on. Erik Funk’s vocals never sounded as snotty. His singing style embodies the same rebel spirit that made punk icons like Howard Devoto (Buzzcocks) and Milo Aukerman (Descendents) so irresistible to listen to so many years back. In Lane Pederson the combo have one of the more exciting, tough-as-nails drummers going today. His relentless attack anchors fast-movers like “Like Eye Contact In An Elevator” perfectly while he holds back just enough on “Fruity Pebbles” to give the song enough breathing room for Funk’s melodies to creep in.

Crystal Castles: Crystal Castles
On Crystal Castles’ debut full-length, old Atari sound effects pierce through the mix, synthesizers are abused, and frontwoman Alice Glass shrieks over the top of everything with menacing punk-rock attitude yet they’ve somehow constructed the dance album of the year. The tracks comfortably jump from techno to house to synth-pop sometimes even doing it within the span of one song. Ethan Kath is the master audio manipulator here dismantling Glass’ vocals, bending and tweaking them so much that they almost become unrecognizable in moments. But the soundscapes are king here. The keyboard melodies on “Crimewave” and “Vanished” are instantly memorable, almost haunting at times. There’s a timeless quality to everything here. For once, the hipsters were right.

“Black and Gold,” Sam Sparro
It sounds like a long-lost Gamble & Huff gem produced by Prince and then remixed by Afrika Bambaataa circa 1982, yet “Black and Gold” feels more vital than 98% of the singles released in 2008. Written and sung by Australian newcomer Sam Sparro, “Black and Gold” was a smash throughout Europe but it barely made a dent here in the U.S. when it was released during the spring. A bank of frothy keyboards pad the track but it’s the pulsating bass and percussion that drive the song. Sparro obviously studied the great American soul singers of the ’70s because every line is pushed through with a brilliant balance of sensuality and macho bravado. I guarantee if Justin Timberlake would have released this track it would have been a Number One single.

Billy Joel: The Stranger 30th Anniversary Edition
The original 1977 version of The Stranger is probably my favorite album of all time. That said, I wasn’t expecting more than a remastering job and new liner notes when Legacy Recordings announced that they would be releasing a 30-year anniversary edition of the classic recording. So you could imagine my surprise when news leaked that a live 1977 concert from Carnegie Hall would also be included as a second disc PLUS a DVD of promo videos, an appearance on the “Old Grey Whistle Test” and a 30-minute documentary about the making of the record would also be included! This is the kind of treatment an album this important deserves. The Carnegie Hall performance had mythical status on the Billy Joel fan boards for years, and rightfully so. It’s the kind of career-making show that most fans only dream about attending, so having it here is really a treat. The documentary is ripe with all kinds of behind-the-scenes information and compelling interviews with Joel and producer Phil Ramone so even the most devout fans have something to salivate over. Hopefully Legacy does the same thing for the rest of his late 70’s work.

Old music critics never die; they just come up with more and more biting, cynical reinventions of the phrase “this album stinks.” Yet they persist, because every few years a truly all-time great release comes out. One wants to be there when it happens, and bear witness to the unveiling. Marah’s record knocked Mojo out upon first listen during 2008’s early days, and he’s happy to report that it remains as rich and beautiful almost a year–and a thousand plays–later. Here’s Marah and nine others worth checking out.

1. Marah: Angels of Destruction
Out of nowhere comes a roots-rock, bluesy masterpiece, an Exile on Main Street for 2008. It’s that good. Perhaps the addition of new member Christine Smith made a decent band into a great one, or maybe Marah’s finally matured into a full-flowered band and are settling in for a decade of excellence and more records to which we can look forward. The comparison to Exile’s apt; just as that seminal Stones piece fused blues, rock, country, and folky elements in a sloppy sonic stew that, somehow, sounds perfect. Forget 2008, this might very well be the album of the decade.

2. Lettuce: Rage
Fifteen years after these seven Massachusetts maniacs formed as Berklee geeks they come out with a new funk record. The thing is, these geeks were pretty darn good back in the day playing jam-band festivals. Then the individual members proceeded to get better, scattering to the four winds to become session musicians and touring sidemen for major pop and rock acts – and bandleader Eric Krasno went on to form Soulive. In 2008, the band returned as a hard funk outfit in the 1970s style of bands like Graham Central Station, Tower of Power, and the Edgar Winter Group. The original horn section remained intact, and the group’s advanced jazz knowledge keeps it tight and slick. If you pine for old-skool funk played by people who get it and aren’t just copying the old stuff best they can, this is the record you’ve been waiting for.

3. Joe Jackson: Rain
The old hand reunites with his original bassist and drummer to play classic, introspective, semi-acoustic pop songs. It’s Joe Jackson to die for: sophisticated, catchy, and a little jazzy music of which he’s always capable, but sometimes seems to nibble around the edges and miss the mark. This album’s a bullz-eye, the album for which his old fans have pined for years.

4. Raconteurs: Consolers of the Lonely
Jack White’s on borrowed time. The media establishment’s starting to hate him, and at some point his act will wear thin. But for now, man, his White Stripes output and this side project band (oh miracle of miracles, there’s a bass here for once) is white-hot good. Whether it’s a slow country ballad or a bashin’ rocker like “Salute Your Solution,” the Raconteurs’ latest is a must-have for your collection. That is if you’re a rock fan, and have a pulse.

5. James Hunter: The Hard Way
From busker to the big time – okay, he’s not exactly a household name, yet – this wonderfully powerful Brit soul singer loves Dion and pre-Motown Detroit soul. Not exactly a formula for finding success, but it happened: He was nominated for a Grammy for his debut. The Hard Way is his follow-up, recorded with vintage sound and production values to make the songs sound more like one of those old reissues that’s been cleaned up with 2008 technology from acetate masters or some such. It’s glorious, actually, and with acts like Amy Winehouse and others carrying the torch of old-style soul music, James Hunter has found a place in this world for performing the music he loves.

6. Beck: Odelay (Deluxe Edition)
Listen, I cringe at the thought of putting CD reissues into any top 10 of anything, including “Top 10 doorstops of the year.” This reissue, however, not only added a full second CD of bonus material, but the graphics and packaging were so good, liner notes so enlightening, that this great record became something greater in its reissue. Some people hate Beck because of his slacker demeanor, and others hate the Scientology portion of his rep. Still others just don’t get him. But when you put on the headphones and turn up the record, it’s clear he has command of the pop lexicon and can borrow any groove from any rock era and make a cool new tune out of it with arty, abstract lyrics and great rhythms. A white Prince, this kid is. Give him his due.

7. Medeski, Martin & Wood: Radiolarians I
Not always accessible and not always caring about it, MMW released something of a stream-of-consciousness record in November that may be one of the most accessible sets they’ve done. Without the heavy mixing, Radiolarians captures the band jamming out, in a New Orleans R&B mode for several tracks. There are some unstructured, free-jazzy, almost ambient tracks here that you gotta be a diehard to appreciate, but there’s also “Professor Nohair,” a Professor Longhair/Dr. John piano funk jam that has a wickedly catchy ostinato that literally etches itself into your DNA upon first play. You can’t escape it. It’s creative and cerebral instrumental rock, the antithesis of the prefab instant hip-hop-in-a-can most charting artists open up as backing tracks to their insipid vocals.

8. Black Diamond Heavies: A Touch of Someone Else’s Class
Standing in the shadows of the Black Keys and the White Stripes and following in the footsteps of the Chickasaw Mudd Puppies and the Flat Duo Jets, the Black Diamond Heavies are a primitive blues duo whose gimmick is a damn Rhodes-and-drum instrumental lineup with a lead singer who sounds a little R.L. Burnside and a lot Al Jourgensen. Great stuff, if you like noisy blues played on vintage analog instruments. Sounds like a tremendous formula to my ears.

9. The Caesars: Strawberry Weed
“Jerk It Out” was the Caesars’ song featured in an early 2008 iPod commercial, but sadly it’s not on this record. Nonetheless it’s a trippy, garageyy guitar-fueled festival of tasty melodies and catchy choruses. The enthusiasm and power of this rockin’ band typically exceeds the legal limit of awesome. If you like groups like Jet, the Hives, and Gringo Star, this record’s a fastball down the middle of your plate. Take a big swing at it.

10. Tommy Emmanuel: Center Stage
Steve Vai’s boutique label finally gave acoustic guitar monster Tommy Emmanuel his due, after the Aussie spent decades toiling in obscurity collecting the love of musicians and a couple of Grammy nominations but no notoriety in the mainstream. The new double-live CD shows Emmanuel for what he is: The Horowitz of the acoustic guitar and a consummate entertainer. Chances are it won’t be going platinum anytime soon, but the sound is exquisite and the performance is better. If you appreciate acoustic guitar music, this set’s a no-brainer.

Hey, you know that death spiral the music industry has been in for the last eight years or so? Yeah, it isn’t going away. (Matter of fact, it turns out that the record biz – ever the trendsetters – started its collapse a few years before the financial sector and the automakers.) But even if album sales aren’t what they used to be, and stars aren’t as super as they once were, more great music than ever is waiting to be heard. Here are 10 top-to-bottom winners from the scores of new albums I listened to this year.

1. Randy Newman: Harps & Angels
He only releases an album of new songs about once every 10 years, so his fans have grown accustomed to pinning a lot of pent-up hope on Randy Newman – and fortunately, his latest is among his best. That isn’t just late-career grade inflation, either; Harps and Angels contains the sharpest, most acerbic pop tunes you’ll hear all year, mocking everyone from Korean stereotypes to Jackson Browne. Nobody bought it, of course, but that’s our problem, not his.

2. Dr. John: City That Care Forgot
Two years after the rest of the world moved on, the Night Tripper is still pissed off about what happened to New Orleans when Hurricane Katrina hit, and this stank-eyed song suite proves you can be filled with rage and still be funky. If you haven’t kept up with the good Doctor since his “Iko Iko” days, you may be surprised – in a good way, of course.

3. The Felice Brothers: The Felice Brothers
If you’ve spent the last 30 years wishing Robbie Robertson hadn’t left the Band, well, The Felice Brothers won’t really make you stop pining for a bygone era, but it will reinforce your belief in the continued existence of wonderfully authentic (and just plain wonderful) roots rock. None of the Felice Brothers have ever walked within a mile of a vocal coach, and this record is so much the better for it.

4. Matthew Ryan: Matthew Ryan vs. The Silver State
After the quieter, machine-assisted Notes from a Late Night High Rise, Ryan was ready to reconnect with a band and dial up the amps – and that’s just what he did on this album. The results are typically searing, but they have an added rawness, a spark that hums between Ryan and his bandmates. It sounds like what it is: A terrific album that was recorded in a garage. Open a cold one and play it loud.

5. Lindsey Buckingham: Gift of Screws
The once-and-again Fleetwood Mac guitarist isn’t known for recording quickly, but after taking 14 years to release the follow-up to Out of the Cradle, he’s been atypically busy, issuing a live album and the long-awaited Gift of Screws in ’08. It isn’t the double album fans were grabbing off the Web ten years ago, but that might be a good thing – it rocks harder and more cohesively than any of his other solo records.

6. Q-Tip: The Renaissance
After a lost decade spent entering and exiting five different label rosters, Q-Tip finally returns with his second solo album – and rather than sounding like something that was labored over for years, The Renaissance succeeds in providing some of the smartest, catchiest, most dance-friendly hip-hop of the year. Hopefully, it’ll be enough to keep him from another extended absence.

7. Steve Poltz: Traveling
In which the erstwhile Rugburn follows up his excellent Chinese Vacation with an even more excellent collection of hook-filled pop songs that gently run the gamut from sweet to funny to sad and back again. Poltz is a songwriter with an uncommonly deft touch, but he’s occasionally had his tongue stuck too deeply in his cheek to speak clearly; here, he plays to nothing but his strengths.

8. The Roots: Rising Down
Not the most user-friendly rap record of the year, Rising Down makes up in uncompromising toughness what it lacks in radio-polished hooks – something you wouldn’t have known if you only listened to “Birthday Girl,” the Fall Out Boy-assisted novelty track that Geffen shipped to radio before the album’s release. Here, “Girl” is relegated to bonus-track status – which is where it belongs on an album as dark and wily as this one. You’ve got to admire their commitment to artistic integrity, but if the Roots are going to keep from going the way of Jurassic 5, their next release needs to be smart and radio-friendly.

9. Vampire Weekend: Vampire Weekend
Take the bug-eyed skittishness of mid ‘80s Talking Heads, cross it with the assuredly smooth globetrotting of Paul Simon’s Graceland, and you’ve got yourself Vampire Weekend, and one of the most instantly addictive indie releases of the spring. The post-rock landscape is littered with baby bands who tried too hard to have fun, but any band that can name-check Peter Gabriel and ask “who gives a fuck about an Oxford comma?” on the same album has to have its priorities in order. Can’t wait for the next one.

10. Pete Seeger: At 89
Like the title says, Seeger turned 89 this year – and he’s still doing what he does best: Taking his message to the people, armed with nothing but a banjo and a voice that, while not as strong as it used to be, is still capable of leading a good old-fashioned sing-along. Hands-down the most inspirational record of the year, despite the occasional corny line.

How does a legendary label celebrate its 50th birthday? By inviting the public at large to vote on its 50 greatest hits, turning the results into a terrific 3-CD compilation…and then releasing it only in the UK. The upshot is that even though you’ll have to pay import prices for it – and even though anyone who’s interested in Motown probably already has copies of most, if not all, of these songs - Motown 50 is one of the more interesting and consistently interesting label retrospectives to come down the pike in quite some time. Much of this is owed to the strength of the catalog, of course, but still, Motown has never been a label known for playing fast and loose with its heritage, both of which make this the entry-level Hitsville compilation to own. If Motown 50 has a major drawback, it’s that it’s sequenced in order, meaning you start out listening to the classics (Marvin Gaye’s “I Heard It Through the Grapevine,” Martha and the Vandellas’ “Dancing in the Street”) and wind up with lesser entries like Lionel Richie’s “My Destiny”; it would have been better (and braver) to count down rather than up. But hey, that’s what the shuffle button is for – and when the label takes enough care to tack on 11 tracks of Motown artists covering (often left-field) hits, who can complain? When you can get the Elgins’ “Heaven Must Have Sent You” and Stevie Wonder covering “Light My Fire” in one compilation, all disagreements are minor. Now when is this getting an American release? (Motown 2008)

Motown 50 Official Site

This export from Sweden may have a hard time finding wide acceptance over here in the States. There’s something about the three songs on this debut EP that just doesn’t seem to translate well over the speakers. Leo Nielsen’s voice is fine and strong enough, but he seems to be squandering his talents on overdone performances. The first track here, “Let Go (John’s Song)” is a dramatically sappy piece of pop vocalizing, and by the time it’s all over, Leo’s pleading may have you ripping your hair out. “Don’t Ask” really pushes the meters into the red, while Nielsen’s voice misses many notes consistently, while his own layered backing vocals continue to bring down the song. If ever you wanted to hear a guy really try way too hard, then this is your chance. On the other hand, “Fade” is syrupy enough that it seems like it would strike the right chord in the heart of a gal in her late teens. That’s not saying much, considering we already have enough of that kind of stuff (and far better, for that matter) already clogging the charts. (self-released)

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