K'Naan's "Troubadour" is one of the most infectious collections of the year. Credit: Amazon.com
The list, in no particular order:
K'Naan, "Troubadour": This most addicting album of the year. Despite some heavy subject matter of life and death on the streets of Somalia, K'Naan rarely sounds anything less than celebratory (check out "T.I.A." which stands for "This Is Africa," shouting hooray even while acknowledging gangs armed with Uzis). K'Naan can also shift styles easily, throwing pop, hip hop, heavy metal, and world music into a surprisingly cohesive mix. "Dreamer" is the most infectious of the bunch, which is why you heard it in commercials constantly during Super Bowl season.
Tom Waits, "Glitter and Doom Live": If Screamin' Jay Hawkins ran a juke joint in purgatory, this would be the soundtrack. This live album concentrates mostly on Waits' recent works, with a couple of older favorites like "Singapore," recasting them all into something more mournful and menacing through Waits' full-throated growl. Plus, you get a full CD worth of Waits rambling at the piano, a kind of sit-down comedy set, which may strike the less dedicated as indulgent but will surely please the die-hard contingent.
Elvis Costello, "Secret, Profane and Sugarcane": Costello has been immersing himself in different modes of Americana recently, with "Momofuko" and "Delivery Man" and his work with Allen Toussaint. He sounds particular at ease on "Secret" with country and bluegrass, while never really losing his identity. "Sulfur to Sugarcane" is a particularly nasty little call out to women in different towns he's visited, and "Complicated Shadows" seems destined to get reworked on the set list for years to come.
Mos Def, "The Ecstatic": Mos Def takes on complicated issues like war, poverty, and religion on "The Ecstatic" without ever losing the groove. "Quiet Dog" is pure rhythm with rib-shaking bass, and "Pretty Dancer" is relentless. Mos Def also displays a healthy sense of humor (listen to the intro to "The Embassy," in which a pilot details the specs of the weapons he and his crew are carrying while pointing out sites like the Gran Canyon) and an ability to synthesize Middle Eastern vocals, R&B horn lines, jazzy chord structures, and hip hop. The last musician I remember combing socially aware lyrics with a sense of humor and musical adventurousness like this was Frank Zappa.
Richmond Fontaine plays "We Used to Think the Freeway Sounded Like A River": This Americana outfit from Oregon, led by songwriter/author/singer/guitarist Will Vlautin, gets a bit more notice in Europe than back in the States, which is a minor tragedy. Vlautin is one of the best storytellers in rock music, and as Richmond Fontaine has grown around him over the years, the music has gotten more sophisticated and reflective of the Vlautin's contemplations on the hard life, and "River" is their best fusion of word and music yet.
Patterson Hood, "Murdering Oscar": Hood is the most prolific songwriter this side of Ryan Adams, and more consistently satisfying. He writes for his regular band, the Drive-By Truckers, which releases a solid album every year or two, which is not nearly often enough for Hood, which is why 2009 saw not only this exemplary solo collection but also "The Fine Print (A Collection of Oddities and Rarities 2003-2008)," a solid studio collection from the Truckers. "Oscar" unites Hood with his dad, legendary session bassist David Hood on "I Understand Now," a rave-up about growing up. "Screwtopia" is a devastating commentary on gender politics, and "Pride of the Yankees" a near perfect summation of life after tragedy.
Son Volt, "American Central Dust": Jay Farrar's old Uncle Tupelo bandmate Jeff Tweedy and Wilco got more attention and a bit more praise for "Wilco (The Album)," but there's something about Farrar's evocative songwriting that reaches just a bit deeper, feels just a bit more natural. Not that it should be a competition -- both are fine albums. But you have to admire a guy who can make an affecting ballad out of a story about Keith Richards snorting his dad's ashes ("Cocaine and Ashes"). Farrar has a great ear for minutiae, both personal and historical ("Sultana").
Willie Nelson and Asleep at the Wheel, "Willie and the Wheel": On their own, Willie Nelson and Asleep at the Wheel are country music institutions, Nelson starting his career in the 50s Asleep at the Wheel forming in 1970. Both are well-versed in country swing (a style that predates Nelson by about 30 years), which is what makes "Willie and the Wheel," a romp through mostly traditional western swing tunes, such a perfect two-steppin' collaboration.
Bob Dylan, "Together Through Life": Dylan drew mixed reviews for this album, perhaps because critics are used to Dylan the moving target who delights in thwarting expectations, and "Together Through Life" fits together so well with his last few albums, "Love and Theft" and "Modern Times." But the quality of the songwriting, a mix of Americana from blues to lilting, Spanish love ballads. You won't find a better group of musicians, and Dylan producing himself (Jack Frost = Dylan) has made for a consistent sound. But it's the songs that matter, and Dylan is never caught dry.
Booker T., "Potato Hole": A welcome return from the R&B veteran Booker T (of Booker T and the MGs, of "Green Onions" fame). With Patterson Hood on hand playing guitar, these instrumentals are a soulful, grungy stew. Songs like "Pound It Out" a cover of Tom Waits' "Get Behind the Mule" sound a bit heavier than you might expect from Booker T, but the combination works beautifully. Booker is especially playful on a cover of Outkast's "Hey Ya," his organ lines replacing the vocals. Possibly a gateway album for people who don't usually listen to instrumental music.
Honorable mentions:
Neil Young, "Fork in the Road"
Monsters of Folk, "Monsters of Folk"
Levon Helm, "Electric Dirt"
Wilco, "Wilco (The Album)"
Tori Amos, "Abnormally Attracted to Sin"
