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I’m still waiting for this fucking year to start, let alone this decade. I write a weekly rock music column, which means I listen to new music all the time, read pretty much every music news source, keep up on reviews and new releases, watch awards shows, etc. I can say with authority that nothing has happened this year. Nothing.

Well, Radiohead released In Rainbows online, which was exciting until you actually heard the damn thing.

I have a hunch: Nothing has happened because we never reached a consensus on what to call this decade. Sure, everyone had their own little comedy, "zippies" and "noughties" and whatnot, but after 2003 everyone got bored of running idiotic polls and we all kind of settled on not calling it anything. "The 2000s" has a slight lead, but it’s never fully caught on because it sounds so stupid and wrong. Rather than being saddled with the confusing "Most Important Band of the Uhhhhhs" title, every rock band in the world got together and agreed not to make any interesting or important music until a decade with a clear-cut naming scheme emerged. It’ll be an uphill battle through the awkward tens/teens, but once we hit the twenties it should be smooth sailin’.

So, how does 2007 stack up to its counterparts in decades past? Arbitrarily, no doubt! Let’s begin.

1957

Wow, tough one. On one hand, 1957 seems pretty goddamned unimpeachable. Rock hit its stride: "Great Balls of Fire," "Lucille," "All Shook Up," "Oh Boy," "Rumble" and tons more. If you’re looking for the most important years in the history of rock, this one is right up there with whenever Satan was born. On the other hand, music was fucking over for grandpa. All this "Tutti Frutti" bullshit must have been a harbinger of doom for people who listened to real music, kinda like Soulja Boy seems to us.

Advantage: ‘57. Take that, gramps.

1967

You’re already kind of an idiot if I have to start listing albums, but: Sgt. Pepper’s, The Doors, Are You Experienced?, Forever Changes, and so on. You’d need a truly pathological hatred of hippies to deny that 1967 was pretty boss. I hate hippies as much as the next guy, and I’m willing to dock some points for Their Satanic Majesties Request, but ‘67 still wins by approximately infinity plus one.

Advantage: Duh.

1977

Another head-scratcher. On one hand, we have the year most commonly associated with musical revolution, the year that ‘changed everything,’ the year of The Clash and Never Mind the Bollocks, not to mention Marquee Moon, Pink Flag, Lust for Life and at least half a dozen more greats. In our corner, we have the year of … uhh … well, there was a new Fall Out Boy record. Maybe 2007 will be looked back upon as the revolutionary year in which the first wave of musicians started abandoning the sinking label system, but in the meantime where are all the good records?

Advantage: 1977. Surely there is somebody in the world who will argue that 2007 was a greater year for music than 1977. That person, wherever he is, is a complete tit.

1987

For all the decent stuff that came out in 1987 — "Just Like Heaven," "It’s the End of the World As We Know It," and even "Sweet Child O’ Mine" — it’s impossible to ignore the daunting mountain of crap. The best stuff of ‘87 was better than the best stuff today, but the worst stuff was so, very, very much worse. My heart goes out to the critics of 20 years ago, who had to put up with "Here I Go Again," "I Just Died in Your Arms Tonight," "Land of Confusion," and many other horrible, unbearable songs. While today’s youth live in fear of being Rickrolled by any harmless-looking YouTube link, remember that in 1987 everyone was getting Rickrolled all the time, wherever they went.

There was also "Livin’ on a Prayer," which teeters atop that needle-fine horrible/awesome fulcrum.

Advantage: Draw. They had dizzying highs and thrilling lows, but we just have a giant hollow center like a cheap chocolate bunny.

1997

Lightning round!

Gwen Stefani’s "The Sweet Escape" vs. Verve’s "Bittersweet Symphony": Comparing these two songs is basically like comparing getting punched in the face to not getting punched in the face.

Soulja Boy’s "Crank That" vs. Hanson’s "MMMBop": I’m going to pick "Crank That," even though I almost got fired from my job for supermanning a ho in front of the HR lady.

Rihanna’s "Umbrella" vs. The Foo Fighters’ "Monkey Wrench": Both are pretty utilitarian, and I suppose both could be used to kill a person in a pinch. Umbrellas are useful more often, though, and I think I’d personally have more use for Rihanna than for Dave Grohl.

Plain White T’s "Hey There Delilah" vs. Matchbox 20’s "3 A.M.": I choose death.

Verdict: History triumphs yet again.

The Atlanta rock scene has long suffered from an identity crisis that sets our fair city apart from other towns that have unwittingly found themselves under pop culture's microscope.

Most of us remember what happened in the early '90s when grunge broke. It put Seattle on the music map, and took flannel shirts off the backs of lumberjacks and put them in upscale department stores for hundreds of dollars. And of course there was the Emo-ha, Neb., plod of just a few years ago that made it cool to be an emotional basket case.

Closer to home there is Athens, Ga. Anytime you see it in print, Athens is always followed by the reminder that, yes indeed, it is the town where R.E.M., the B-52's and Pylon got started. In the late '70s, it was ground zero for alternative rock in America; never mind that it happened nearly three decades ago.

Music aside, there has always been a discernable flag around which bands on the ground level in all these towns have rallied. So what does Atlanta get now that it is primed to be America's next big music scene?

Now hold on. Before you sneeze, wheeze and leave little anonymous comments about how presumptuous it all sounds, consider the facts from this year alone: MTV aired a documentary about Atlanta's music scene, examining the life and times of Deerhunter, the Black Lips, Snowden and Manchester Orchestra. You can't log on to Pitchfork without seeing a new story about some catty and controversial trouble Deerhunter vocalist Bradford Cox got into over the weekend. The Black Lips tore it up on "Late Night with Conan O'Brien," and even Manchester Orchestra appeared on "Late Night with David Letterman."

The rest of the world is dialed in to what Atlanta is churning out, whether Atlanta knows it or not. And not to digress too much, but who the hell is Manchester Orchestra, anyway? You would be hard-pressed to find anyone on the street who can tell you anything about the group. Have they played more than a single show at the Drunken Unicorn? The Earl, Smith's or the 10 High? Manchester Orchestra is a fine band, if that's your thing. But how is the band able to ride a wave that has been kicked up by so many other bands that spent due time in the trenches? Is it because Paste magazine has bedroom eyes for the group?

It all leads back to the identity crisis. Juxtapose the grit of the Black Lips, the intelligence of Deerhunter, the balls of Gentleman Jesse and His Men, the vanity of Snowden, the debauchery of All Night Drug Prowling Wolves, and the anonymity of Manchester Orchestra against the visceral approach of groups such as Carbonas, the Coathangers, Knife and the Fourth Ward Daggers, the Selmanaires, and Baby Shakes; and you have a rock scene that is as confusing and meandering as the streets in our town.

It's a roster that reads like a cast of characters from a William Faulkner novel; full of flaws, moral fiber, conflict and extremely Southern in their bastardization of all those traits. And each does so in a manner that is so endearing and so distinctively Atlantan that no one can make sense of it.

Not yet, anyway.

Whether it’s Toby Keith claiming he’ll “never smoke weed with Willie again,” or Snoop Dogg waxing poetic about sipping on “Gin and Juice,” popular music and its association with certain indulgences has been a parental point of concern for many years.

But can popular music really lead kids to drug and alcohol use?

According to a recent national study, out of the 279 most popular songs of 2005, one in three songs contained one or more references to substance abuse.

While rock ‘n’ roll has long been a target of contention, according to the study only 14 percent of rock songs contained any reference to drinking or drug use. Rap music, researchers said, is by far the biggest offender - with 86 percent of the songs containing some reference to drugs or alcohol.

Country music comes in second in the survey, with 37 percent of songs referencing drinking or drugs. Pop music came in last, with only eight percent of songs containing such references.

But do these lyrics actually have an effect on human behavior - more specifically, the young people who are doing most of the listening?

“We don’t know if it really makes a difference,” said study author and University of Pittsburgh Assistant Professor of Medicine Dr. Brian Primack. “Maybe kids listen to songs with alcohol, and it doesn’t affect them one way or another. Maybe it affects them a great deal. It’s good for us to know that this exposure is there so that we can go the next step. We can talk to kids about it and say what we think is correct, and what is not.”

For Tahlequah musician Matt Gurley, the problem isn’t the music. It’s something much larger.

“I don’t think music is the cause. I think it’s alienation, loneliness, boredom, and the shock of societal indoctrination,” Gurley said. “People want to take risks, harbor secrets, and most of all, escape the drudgery of everyday life, so they develop addictions, whether they resort to bingo, infomercials, religion, marijuana, shopping, sports, or music - which is very much an addiction all its own.”

Human nature, said Gurley, will lead people to drugs or alcohol much faster than any lyric.

“People also get into drugs and alcohol because of repression - tell them not to do it, and they think, ‘Man, this must really be fun if all of these uptight conservatives want so badly to keep me away from it!”’ Gurley said. “It’s human nature. Put a sign on a wall that says, ‘Do not look over this wall,’ and everyone will scramble to get a good view.

“If the people in control really wanted to quell drug popularity, they would start a big ‘Drugs are Cool’ campaign. When will they learn?”

Garron Marsh writes for Tahlequah (Okla.) Daily Press.

The Grammys have had their say, and to no one's surprise they mostly got the year in music wrong. The BC Magazine music editors have come together to help get you headed in the right direction. Ignore the Grammys, buy these records instead!This is probably the least suspense-filled choice of the entire group because I announced my choice when I interviewed the man behind it on the B-Sides Concept Album program for BlogTalk Radio. What can I say about this album that I haven't said before throughout the past year (BC Magazine review/Fanboy)? Plenty!Shadows and Cracks is such a versatile record that it's impossible not to love. This is the album you start with tomorrow when you get showered in gift cards by all the people in your life. Karp has crafted a record that blends influences and styles with songwriting good enough to stand next to Dylan, Dixon, Lennon, Waits, Prine, and Hiatt. It's high praise, but I mean every word of it. Consider this: everyone I've turned on to this album has liked it. You will, too. Essential is not a strong enough word. Fuckin' well mandatory comes closest.It's not a well kept secret. There's a special place in my heart for pop music and another corner reserved for anything retro. Memory Almost Full, released June 4, isn’t what I'd call a throwback, not in the least. It did, however, have some very familiar threads running through it. Like an evening with an old friend, or a cozy sweater, it felt warm and familiar. These songs came from the same place inside McCartney his earlier tunes with The Beatles and Wings did and six months later, I still pop the CD in, or call it up on the iPod.When the CD was released in June, I wrote a sneak peek article and much of what I said then still holds true. From the light airy feel of "Dance Tonight" and "That Was Me" to the more surreal "The End of The End" and "Feet in the Clouds," the album has remained a staple in my collection.She calls herself A Fine Frenzy but was born Alison Sudol, and she is easily one of the most talented and promising newcomers of 2007. He debut album, One Cell in the Sea, is a magnificent alternative singer-songwriter concoction full of haunting melodies, stripped back piano, and raw, vulnerable lyrics. This atmospheric album is as much artistry as mainstream music can be. With alt-folk sensibilities, this 23-year-old has crafted an album that is fresh and nostalgic together. Reminding you of Bjork, Aqualung, and Radiohead in turns, One Cell in the Sea should have gotten so much more attention than it has. But so is the way of a new artist. A Fine Frenzy is far from being poppy or conventional but is still captivating and accessible. Her rich hypnotic vocals weave a tapestry of portentous emotions, while lulling the listener into a quiet, melancholic frame of mind. It's rare to hear major label artists these days who can so perfectly express such deep, sometimes troubling, sometimes passionate emotions with such power and true depth of feeling. After listening to One Cell in the Sea you'll be blinded by her subtle, waves-crashing-on-the-rocks voice and the power of her intense lyrics, and finally you'll be enchanted by her charisma and intelligence. One Cell in the Sea and A Fine Frenzy must not be missed.Now this is more like it. When Bruce Springsteen reunited with the E Street Band in 2002 for The Rising — their first studio album together in nearly twenty years — as good it was, it still felt like something was missing. Perhaps due to the heaviness of the 9/11 theme, the album just seemed to lack that spark that has always made Springsteen's live performances with the E Street Band so special.With this year's much anticipated Magic, Springsteen and The E Street Band came roaring back with their biggest sounding rock and roll album since the seventies heyday of albums like Born To Run. It's all here. The big drums of Max Weinberg, the carnival keyboards of Roy Bittan and Danny Federici, and of course the unmistakable saxophone of Clarence "Big Man" Clemons, (which was inexplicably downplayed on The Rising). Songs like "Livin' In The Future" and "Last To Die" recall the Jersey Shore swagger of those earlier E Street albums, while Bruce's lyrics remain as topical (and critical of current administration policy) as ever. Meanwhile, the urban romanticism of that same period is echoed in the lush pop of "Girls In Their Summer Clothes."Best of all, by all accounts the songs sound amazing as performed live on Springsteen's current tour with the E Street Band. The big noise is back.Choosing an album of the year is a daunting task in this field of incredible contenders. Amy Winehouse, Feist, Paramore, and many others have produced amazing music this year.But one album strikes me as especially worthy of “album of the year” honors because it proves that there is hope that the beloved Motown sound won’t die out with the last of the era’s original performers.This is Ryan Shaw, a 12-tune CD released in August and featuring the 26-year-old Shaw of Decatur, Georgia, has injected a huge dose of excitement into those of us who love classic Motown. The CD, which includes classic tunes by songwriters including Ashford and Simpson (“I’m Your Man”) and Holland, Dozier, Holland (“Working on a Building of Love”), and some originals, is almost like a musical trip to the 1960s-era Motor City.What’s interesting is that Shaw grew up in an extremely religious household and hadn’t heard any rhythm and blues growing up. Suffice to say, once he heard them and turned his strong, emotional voice to them, angels sang in R&B heaven.Not only does Shaw have the vocal range to pull off such classics as “I Found a Love” (Wilson Pickett) but his originals, including “Nobody” and “We Got Love,” sound as if they came right from the Motown hit writing machine.

Over the past year or so, reggaeton - once too violent and salacious for prime time - has been mutating into something that strongly resembles pop music.  

Prodded by producers like Luny Tunes and the irrepressibly experimental Calle 13, the relentless bump-and-grind gangsta imperative has been finely retuned into something that sounds like The Chronic-era hip-hop with a strong Caribbean feel. When you listen to Voltio’s new album, En lo Claro, the process seems complete. 

Sounding more like Cypress Hill’s B-Real than Snoop Dogg, Voltio (nee Julio Irving Ramos Filomeno) has suddenly become a dominant voice in the genre. His 2005 self-titled debut album drew praise for its storytelling, innovation and groundbreaking cover of the Hector Lavoe hit “Julito Marana.” But “En lo Claro (Frankly Speaking)” so successfully navigates Puerto Rican street culture’s rawness, playful sarcasm and salsa roots that it challenges Calle 13 and Daddy Yankee for urban album of the year. 

The album is ambitiously eclectic, ranging from the bubble-gum reggaeton of Ponmela (Put It There for Me) featuring hitmakers Jowell y Randy and Un Amor Como Tu (A Love Like You) with Arcangel, to the vallenato-infused satire of El Mellao (The Man With Missing Teeth) and a salsa dura tune Pelea (Fight) that sounds like it’s off Willie Colon’s first album. In a startlingly effective ballad/hip-hop fusion, Voltio trades verses with the late great Tito Rodriguez in Yo Se Que Tiemblas (I Know You Tremble), which remakes a Tito Curet Alonso bolero from the 60s. 

Many of reggaeton’s basic elements are present in En lo Claro, and not just as vestigial traces of the hot-and-bothered party music. Me Pones Mal (You Make Me Bad), produced by the trendy Nely is a high-concept wall-of-dembow strut about an irresistible dance-floor attraction, and Ponmela rhymes “la mini” with bikini and Houdini with a coy innocence that resonates with its revival of post-disco DJ Arthur Baker’s Planet Rock rhythms. 

Outside of a couple of Tego Calderon tracks, there haven’t been many rock-meets-reggaeton tracks to recall Run DMC’s and Aerosmith’s Walk This Way, but here Voltio calls on Puerto Rican rockers Vivanativa on Feka with surprisingly strong results. Taking a page from Calle 13, Voltio goes cumbia on Cristina, a hilarious duet with Yerba Buena vocalist Cucu Diamantes. 

En lo Claro’s musical experimentation is so attention-grabbing that you can almost miss how much skill Voltio has as a lyricist. His tongue-twisting intensity appears on Tu Te Crees (You Think), and his storytelling carries Perdoname. But he really gets a lot off his chest on the title track, a rapid-fire meditation on his personal triumph over a sketchy past that included prison time. 

While street-tough posturing has long been a staple of reggaeton and hip-hop MCs, Voltio proves his “realness” by including a DVD of a live performance from Oso Blanco, Puerto Rico’s largest prison. When he performs Julito Marana, about the death of a gangster, with his live band before a crowd of prisoners, you can feel the connection he’s making. “I carry you guys in my heart because I know the suffering of the imprisoned,” and frankly speaking, he does. 

- Copyright (C) MCT Information Services

A wave of vibrant rock music surged from female artists in 2007. After a long hiatus from the recording studio, Joni Mitchell returned with “Shine.”Annie Lennox laid “Songs of Mass Destruction” on us, while KT Tunstall scored well on her sophomore effort, “Drastic Fantastic.” And, lest we forget Amy Winehouse, who, despite recent legal trouble, earned a magnum’s worth of 2007 Grammy nominations for her album “Back to Black.”Accolades and award considerations aside however, these talented artists and their works provide only a brief window to the rich array of music recorded by women this year.

As we head into 2008, here’s a brief look at some of the other noteworthy releases from women over the last 365 days.ΔTori Amos, “American Doll Posse” (Sony): The state of America’s current social fabric, political leadership, war and the impersonal nature of the digital age converge to shape the thematic currents of “American Doll Posse.” With her rippling piano and distinctive vocal arrangements, Amos delivers a solid 23-song playlist worthy of oft-repeated listening.ΔMelissa Etheridge, “The Awakening” (Island): A mix of personal experience and meditations about the wider contemporary world create a concept album-like feel on “The Awakening.” From the attempted suicide of a lover related on “An Unexpected Rain” to the perils of religious martyrdom in “The Kingdom of Heaven,” Etheridge zeroes in on memories and the contemporary situations with singular honest passion. Additionally, Etheridge deserves enormous props for another aspect of this effort. In a remarkable turnaround, she also produced and put out a live recording of “The Awakening” within weeks of the studio version’s September release.ΔP.J. Harvey, “White Chalk” (Island): Sparse, earthy, and spiritually introspective, Polly Harvey takes her music down a new creative avenue on “White Chalk.” Gone are the thumping bombast of her earlier “Meet Ze Monsta” days, and the lightning riffs of “Kamikaze,” in favor of a new music vernacular that relies more on keyboards than percussions and a guitar presence. The album breezes along at a low-to-mid tempo pace, with the numbers “Silence” and “The Piano” about as upbeat as the music gets. At times, “White Chalk” conveys about as much joy as one of Francis Bacon’s tortured paintings. But it also possesses exceptional continuity, and feels positively seamless.ΔJesca Hoop, “Kismet” (Sony BMG): On her debut effort, Jesca Hoop stirs a variety of music styles, from blues and country to jazz and rock, into a grand sonic bouillabaisse seasoned with alluring vocals and harmonies. Hoop blends a hint of retro and Regina Spektor flavor into her “Silverscreen,” dishes up a jaunty cadence on “Out the Back Door,” and concludes this fascinating sonic journey with an effective sweetly throwback-style ballad, “Love and Love Again.”ΔDolores O’Riordan, “Are You Listening?” (Sanctuary Records): The former front woman of the Irish rock group the Cranberries serves up a texturally smooth effort on her first solo album. Her deliciously lithe voice and robust instrumentation produce a melodic potency that almost rises to a melodramatic level, but never succumbs to it. Introspective reflections fuels much of the thematic thrust on “Are You Listening?,” with family connections underscoring several key tunes, including the opener, “Ordinary Day,” and “Apple of My Eye.”ΔMichelle Shocked, “To Heaven U Ride” (Mighty Ride): Shocked not only feels the power on this collection of gospel-inspired covers originally recorded during a live performance at the Telluride Bluegrass Festival in 2003, she exudes it. Blending blues, funk and some serious rock, the only stone the urban folk rocker omits here is a new rousing rendition of “My Sweet Lord.”ΔSia, “Some People Have Real Problems” (Monkey Puzzle Records): From the moment Sia slips into her “Little Black Sandals,” she grabs your heart. Sia’s soaring, occasionally offbeat balladry moves gracefully along the current of her endearing vocal delivery. Her up-tempo “The Girl You Lost to Cocaine” conveys a spirited sense of empowerment, while the measure of relationship differences assumes calculated playfulness on “Academia.” Sia strikes her strongest marks however, on the album’s weightless, romantic tunes, “You Have Been Loved” and “I Go to Sleep.”ΔSiouxsie, “Mantaray” (Decca): Check your volume settings: Your stereo or iPod is about to undergo a royal workout. Siouxsie’s first solo album doesn’t grow on you; it’s all over you in a furious cascade. A harrowing Industrial beat particularly drives the opener “Into a Swan,” the succeeding “About To Happen” and the percussive, five-alarm storm on “One Mile Below.” Yet, the album’s molten energy isn’t committed solely to making the sparks fly. Siouxsie also asserts her sultry dexterity on several of the album’s more moderately paced tunes.

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Compiling an end-of-the-year list always makes me a little nervous. I worry I’ll leave off an artist whose work was tight, whose effort deserves a mention. But for some reason (chiefly space limitations), I can’t get everyone in. This year wasn’t so hard, though. When thinking about the “best” CDs of the year, sales and critical buzz don’t matter much to me. “Best” means that the artist stepped his game up and, in the process, set a higher standard within his genre. It’s music that either added something fresh to current trends or bucked them altogether with a vibrant and memorable approach. Here’s my list of the best albums of 2007, many of which deserved more attention than they received:

RAHSAAN PATTERSON Wines & Spirits

I can’t think of too many other contemporary male soul singers whose music feels so sincere. Patterson is always adventurous, yet his songs remain accessible and rich with fluid melodies and open-hearted lyrics. No pretension, no forced posturing — this native New Yorker truly keeps it real. On Wines & Spirits, the singer-songwriter’s fourth album, Patterson’s remarkable musicality is in full bloom. Each song is a colorful universe unto itself, but the album flows seamlessly. From percolating, Sly Stone-inspired funk to spare, Janis Ian-penned balladry, Wines & Spirits deepens with each listen. A modern soul classic.

MAVIS STAPLES We’ll Never Turn Back

And speaking of soul, this Chicago-raised artist is one of the greats. For 50 years, she sang with her father, brother and sisters as the Staple Singers, the legendary group that melded country gospel, Delta blues and urban funk into an irrepressible sound. (You remember the classics: “I’ll Take You There,” “Respect Yourself,” “Let’s Do It Again.”) Although Staples has lost some of her shouting power over the years, her breathy, husky vocals still roil with conviction. And on this album, a collection of modernized “freedom” songs, she offers a potent musical balm. Backed by Ry Cooder’s sensitive but oh-so-funky production, the artist soars on such evergreens as “Eyes on the Prize” and “Down in Mississippi.” With We’ll Never Turn Back, Staples gloriously brings blues and gospel back to R&B.

THE WHITE STRIPES Icky Thump

With each release, this minimalist duo invigorates its blues-rock base with instrumentation that matches its eccentric image. On this album, one of the more inspired releases to come out of rock this year, Jack and Meg White throw in everything but a hammer and nails. Mariachi horns, flamenco flourishes and bagpipes add odd but fitting textures to the music throughout Icky Thump. Of course, the duo overreaches a bit. “St. Andrew (This Battle Is in the Air)” is a noisy waste of time. But that’s the only lull on this smart and fearless album. SUZANNE VEGA Beauty & Crime

Since rocketing up the pop charts with 1987’s “Luka,” Vega has maintained a respected reputation for poetically painting memorable characters in her songs. On this album, her debut for the venerable Blue Note label, the artist’s approach is deft and sophisticated as the music smoothly blends organic and quirky electronic instrumentation. It’s an assured, stylish record that uses the city of New York as a deep character study. The idea may sound a little passe, but Vega makes it work. “Ludlow Street,” dedicated to the memory of Vega’s brother, Tom, is especially moving. But the entire album is, hands down, Vega’s masterstroke.

LIFESAVAS Gutterfly

No disrespect to such marquee names as Common, Talib Kweli and Jay-Z, all of whom released solid rap albums in 2007, but Lifesavas, an independent, underground trio from Portland, Ore., trumped them all. This is one of few hip-hop CDs to drop this year that didn’t feel painfully contrived. Sure, the album concept — a soundtrack to a faux blaxploitation flick — isn’t exactly original. But it doesn’t get in the way of the album’s brilliant production and incisive, sterling tales of urban survival. Several cuts — namely “Freedom Walk” and “Shine Language” — are uplifting without feeling corny or didactic. Unlike many hip-hop releases to come down the pipeline lately, Gutterfly is a cohesive album that sounds better with repeated listens.

SHARON JONES & THE DAP-KINGS 100 Days, 100 Nights

Amy Winehouse may have been Miss It this year with her critically acclaimed Sarah Vaughan-meets-vintage Motown approach, but that was nearly obliterated by her erratic behavior, which filled international tabloids. At least she had the good sense to use the Dap-Kings on the tour behind Back to Black, her lauded American debut. But the band has been backing Jones, a full-figured, full-throttle vocalist, for some time now. And this album, whose retro sound isn’t too far removed from Winehouse’s, is excellent. There’s nothing contemporary about the CD. The music is straight-up brassy, Stax-like soul, which the Dap-Kings replicate wondrously. But it is Jones’ gutsy, grits-and-honey vocals that drive the album. At 51, Jones boasts a nuanced, emotional believability you just don’t hear in the one-note approaches of so many of today’s wannabe divas.

HERBIE HANCOCK River: The Joni Letters

One legend pays tribute to another. Jazz visionary Hancock reinterprets the jazz-suffused work of pop maverick Joni Mitchell. As an interpreter, Hancock respects the integrity of Mitchell’s songs but is daring enough to twist them in captivating ways. With the help of knockout talent — namely sax great Wayne Shorter, rock-soul legend Tina Turner and sultry vocalist Norah Jones — Hancock crafts a transcendent album that casual and hard-boiled jazz fans should relish.

THE SHINS Wincing the Night Away

Although this album is a bit slicker than the band’s previous work, The Shins steer clear of alt-rock cliches. In several ways, the album is typical Shins — melodic and guitar-driven. But this time, the band folds in progressive musical elements that give the sound a certain freshness. Subtle but affecting musical quirks pepper Wincing the Night Away. “Phantom Limb,” for instance, is lifted by an odd, soaring chord change midsong, and “Black Wave” rides on dreamy electronic textures. To stay vital on this release, The Shins didn’t need to do a complete overhaul of its sound. Just a few shimmering touches here, some dark tones there made all the difference.

DONNIE The Daily News

It’s no easy feat to take such heavy topics as the shady American pharmaceutical industry, depression, the Atlanta child murders and the Hurricane Katrina disaster and churn them all into edgy, uplifting songs. On the Georgia-based artist’s sophomore album, he extends the tradition of gospel as “good news” in bad times. Unlike other modern soul artists whose lyrics are politically charged (Lauryn Hill immediately comes to mind), Donnie isn’t preachy. A sense of hope and spiritual transcendence permeates his lyrics as the music bumps with unbridled funk reminiscent of Talking Book-era Stevie Wonder. Behind Patterson’s Wines & Spirits, The Daily News is the second most impressive R&B album of 2007.

HONORABLE MENTIONS Ledisi, Lost & Found; Musiq Soulchild, Luvanmusiq; Ann Nesby, This Is Love; Carrie Underwood, Carnival Ride; Wynton Marsalis, From the Plantation to the Penitentiary; Ry Cooder, My Name Is Buddy; Lucinda Williams, West; Rickie Lee Jones, The Sermon on Exposition Boulevard.

rashod.ollison@baltsun.com

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Copyright © 2007, The Baltimore Sun

I blame it on the Internet. It’s giving me distinct feelings of inadequacy as a music writer/reviewer.

It used to be that I could feel as if I had heard the vast majority of worthy albums released over the course of the year. Now I suspect that’s no longer the case. With the Internet making it possible for virtually any musician or band with an ability to record and upload songs to get their music into circulation and find enough of a fan base to tour, there’s been a proliferation of new CDs.

That’s great for music, but not so good for a reviewer. It’s becoming impossible not to miss out on a few great CDs — and more than likely, a few that belong on a year-end best albums list.

Still, plenty of albums crossed this desk in 2007 that should have gained a lot more attention than they did. So while I’m sure there are some unfortunate omissions, here are my picks for the best overlooked CDs of 2007:

Minus the Bear: “Planet of Ice” (Suicide Squeeze Records) — With its third full-length CD, “Planet of Ice,” Minus the Bear solidifies its reputation for making some of today’s most intriguing and category-defying music. For lack of a better word, Minus the Bear plays pop-rock music. With angular melodies built around intertwining guitar and keyboard lines, the band crafts a sound that’s somewhat brainy, but immediately enticing.

Sea Wolf: “Leaves in the River” (Dangerbird Records) — With groups like Wolfmother, Wolf Eyes, Wolf Parade, (and even) Steppenwolf, it’s getting hard to keep the “wolf” bands straight. But Sea Wolf (which is essentially Alex Brown Church) makes a strong bid to be pack leader with “Leaves in the River.” Church matches the inventive instrumentation (accordion, violin, cello, to name a few) with striking and frequently delicate pop songs that skirt along the familiar boundaries of folk, rock and chamber pop.

The Forecast: “In the Shadow of Two Gunmen” (Victory Records) — With this second CD, the Peoria, Ill., band pretty much sheds its “Midwest emo” label by putting more of a roots/country slant on its sound. The result is a CD with a heartier, less trendy sound, as songs like “And We All Return to Our Roots” and “A Fist Fight For Our Fathers” deliver plenty of melody and muscle.

Kristeen Young: “The Orphans” (Test Tube Baby Records) — Young got some attention this year for getting kicked off of Morrissey’s tour by “Mozzy” himself. Maybe the controversy will generate some attention for the boldly original music on “The Orphans.” Part Kate Bush, part Tori Amos, part Dresden Dolls, Young’s piano-based songs have a theatrically dramatic flair and an idiosyncratic yet inviting sound that spans rock and orchestral idioms.

The Redwalls: “The Redwalls” (MAD Dragon Records) — On this self-titled effort, the Redwalls move well beyond the Beatles-ish stylings of the group’s first CD, emerging with a far more distinctive and developed sound that encompasses a wider range of pop styles.

The National: “Boxer” (Beggars Banquet Records) — With its fifth release, “Boxer,” the National fully establishes itself as one of rock’s most compellingly original groups. Many reference points pop up throughout “Boxer,” including Nick Cave, Leonard Cohen, the Smiths, and the Band, but describing the group’s stately sound is tricky. Fortunately, enjoying the music is easy, and repeated listenings only bring out the quiet power and depth of “Boxer.”

Bayside: “The Walking Wounded” (Victory Records) — Modern rock has more than enough bands trying to sound like Fall Out Boy. Bayside works that guitar pop territory, but stands apart from many of its peers by building an unusually tight blend of riffs and lead guitar lines into its catchy songs.

J.J. Grey & Mofro: “Country Ghetto” (Alligator Records) — Grey and his band, Mofro, have for years been typecast as a jam band, and as such may have been dismissed by some as just another group playing somewhat aimless roots music. “Country Ghetto” emphatically refutes that notion with a set of potent, well-crafted songs that are strongly rooted in soul and blues.

The Actual: “In Stitches” (Softdrive Records) — There’s nothing innovative about the Actual’s debut on Scott Weiland’s Softdrive Records. But in a way, that makes this CD more impressive. Any band that can write punk-tinged hard rock songs like “Permanent Kitten” and “If You See Her” that stand out within such a basic and familiar sound is doing something right.

Mando Diao: “Ode to Ochrasy” (Majesty/EMI Music Sweden) — This Swedish quintet’s songs at times sound like they could fly off the rails at any moment. And this sense of impending musical chaos — not to mention a talent for crafting catchy Brit-rock-styled melodies — gives “Ode to Ochrasy” an appealing edginess and charm.

Honorable Mention: Eastern Conference Champions: “Ameritown” (Suretone Records); The Alternate Routes: “Good and Reckless and True” (Vanguard Records); William Tell: “You Can Hold Me Down” (New Door/Universal Records); The Electric Soft Parade: “No Need to be Downhearted” (Better Looking Records); Johnathan Rice: “Further North” (Reprise Records); Shout Out Louds: “Our Ill Wills” (Merge Records); The Mother Hips: “Kiss the Crystal Flake” (Camera Records); The Klaxons: “Myths of the Near Future” (Geffen Records); The Silos: “Come on Like the Fast Lane” (Bloodshot Records); The Loose Salute: “Tuned to Love” (Graveface Records)

What with Prince giving his CDs away in the Daily Mail and Radiohead forcing us to take up night classes in computer programming just to be able to hear their new record, it’s refreshing to find a band that just want to be heard. Unfairly tagged with “The New Kooks” tag, The Days make breezy summer choons that make you feel like you’re mucking around on the beach with a load of curvy bikini-clad hotties/hunky speedo-wearing love-Gods (delete as applicable), when in reality you’re stuck on the M25 in a never-ending spiral of traffic. We caught up with Luke, Dan, Harry and Tim to chat about those bloomin’ Kooks comparisons, touring with The Fray and their aims for 2008.For those people who are new to The Days, can you tell us how the band came together?Luke: “Me and Dan are brothers, and we’ve been playing in bands together since we were ten. When we got to about 18, we decided we were going to form a new band and started looking for drummers. Harry came on board about two years ago and Tim joined a year later - just a before we got signed.”Does having brothers in the band affects the dynamic of the group?L: “It’s quite good actually. We do fight a bit, but I think having two brothers in the band brings us closer together as a unit. We can be really open with each other, so getting things done can be a lot quicker. That attitude rubs off on everyone else - we all tell each other exactly what we think. If someone plays something crap, we’ll let them know.”How would you describe your music in one sentence?L: “We always like to concentrate on melody and getting big, catchy tunes going. After that we obviously want a big punchy, piano rock sound. We just make catchy tunes, really.”Dan: “We focus on the songs.”Why do you think people are tipping you for big things in 2008?L: “People have said our music has got a lot of escapism to it and a real summer vibe, which is nice.”Tim: “It presents something different from most rock music at the moment, which comes from the London scene. We’ve stayed out of the scene and honed our songcraft down here and it embodies a different landscape.”You been compared a lot to The Kooks. Do you get worried about being pigeon-holed by those comparisons?D: “We don’t mind being compared to The Kooks or anyone for that matter. We do take inspiration from different bands, but at the same time we like to think we have got something very different and fresh.”How much fun were the big tours you’ve just done supporting The Fray and Rooney?Luke: “Yeah, we had a really good time actually. The Fray were really cool with us. We went go-karting with them for one day in Manchester and we had a right good laugh. Hanging around with other bands is the really cool thing about doing all this - there’s always lots of beer! We did a long tour, so by the end of it, the whole thing was getting pretty knackering.”Do you find it difficult playing to audiences when not many people know your records?Harry: “We’re at a stage with the band where we’re keen to get as many fans as we can, so we have to do it. “T: “The songs are truly catchy as well, so, by half way through, most people feel like they know us already. When we get people singing along at support gigs it’s good stuff.”L: “It’s fine because just playing to people and getting our music heard is great. Also, there’s not a lot of expectation for a support act. It can be tough because the crowds often aren’t warmed up, but we just take it as it comes. Obviously we prefer playing our own shows though.”You’ve released the track ‘You’re a Rock’ for free on your MySpace. Do you get worried about recouping money for your record label when you give your music away like that?D: “Obviously bands do have to make money and record labels do have to make money, but it’s just about keeping going and developing. For us it’s not about earning millions of pounds and going out and having a great life. It’s about earning enough money to make this our life and make this a career.”With MySpace, Facebook and all this modern techno-babble nonsense, do you think young bands have to work harder to market themselves?L: “I think these online communities actually make it a lot easier for bands like us to get our music out there and build a fanbase. It’s a lot quicker than it ever would have been before.”D: “The obvious downside is that there’s a lot more people doing the same thing. Certainly MySpace has grown and there’s a lot more bands on that than there used to be.”What’s your main aim for 2008 as a band?L: I think we want to grow, get a bigger fanbase, get the album out and hopefully sell some records.”T: “Hopefully the album will draw people to the gigs, so we can actually have some real gigs on our own. We just want more people listening to our music. It doesn’t matter how we do it.”The Days’ Digital Spy tour blog can be found here. Their Evil Girls EP is out now.

    BEIJING, Dec. 27 — Cui Jian, the godfather of
Chinese rock music, will perform at the Beijing Workers’ Indoor Arena on Jan. 5.
But weak ticket sales so far might result in a disappointing return to the place
where he once blasted open the gates.

    In 1986, Cui Jian debuted at the Workers’ Indoor
Arena with a trailblazing rock show, creating an alternative genre for Chinese
music fans.

    His comeback two decades later has so far sold only
about 5,000 tickets, half of the total seats, the Beijing Evening News reported.

    On Tuesday, the 46-year-old rocker met with the media
in Beijing to discuss next weekend’s show for the first time. He said he felt
pressure to satisfy both old and young fans, and if there were fewer people than
he expected at the show, he would be “very disappointed.”

    Fans at the concert can expect to see Cui Jian lead
his band in a set chronicling his legendary career, but the singer didn’t like
calling the show nostalgic. “It’s out of my way to get nostalgic,” he said,
adding that sometimes old stuff can still hold up today.

    The concert was announced on short notice, a fact to
which its organizer ascribed the unsatisfactory ticket sales. Promotion for a
show usually requires one to two months; Cui Jian’s allowed for only 20 days.

    Tickets, capped at 800 yuan (US$108.8), are being
sold for less than other shows held recently at the Indoor Arena. Tickets to
Taiwan rock singer Shin’s show on December 24, for example, sold for as much as
1,180 yuan.

    The organizer is now hoping to see a surge in
purchases over the last a few days.

    Cui Jian, who is now rarely seen in solo settings,
never veers far from the rock stage. He still headlines rock concerts
periodically, including this year’s Beijing Pop Festival.

    (Source: CRIENGLISH.com)