Albums Of The Year 2006 Part Two

Sorry, delayed by Christmas. Why can't they time it more conveniently, eh?


50. Colin Towns/NDR Big Band – Frank Zappa’s Hot Licks/Lend Me Your Ears (Provocateur)
I’m cheating a bit here by putting these two albums from master composer and arranger Towns together, especially as he actually released three different albums in 2006 (I’ve yet to hear the third, a collaboration with singer Norma Winstone). The music of Frank Zappa translates fluidly to the big band setting, particularly the material from Hot Rats, and the band sounds muscular and punchy. ‘Lend Me Your Ears’, a collection of original material from Towns, is less successful than his Orpheus Suite ballet music, but still comfortably demonstrates his talent for refreshing the traditional big band sound.

49. Ghostface Killah – Fishcscale (Def Jam)
After a period of coasting somewhat, Ghostface bounced back with a resounding success of an album, full of pounding, insistent beats and the kind of wild wordplay we had come to expect. With the likes of Pete Rock and MF Doom on production duties, the sound is varied and refreshing, and not even the numerous skits and guest appearances (so crushingly inevitable on modern hip hop albums) spoil the effortless flow.

48. The Gossip - Standing In The Way Of Control (Backyard)
The surprise crossover success of the year, The Gossip might have been considered outsider cult figures at the start of the year, and few would have predicted the NME’s bizarre decision to put Beth at the top of their ghastly ‘cool list’, yet have the resoundingly atrocious Muse grace the front cover instead. Still, if we focus on the music, there’s just so much to enjoy here – it’s a riotously thrilling merger of primal blues and punk, and actually a far more effective hybrid than that of the far more lauded White Stripes. Just listen to the sublime ‘Coal To Diamonds’ or the brilliantly minimal ‘Listen Up’ (one of the year’s best party tunes), for evidence of the raw energy and feeling this band have in abundance.

47. Max Richter - Songs From Before (Fat Cat)
Highly influenced by the likes of Steve Reich, Richter is both a minimalist composer and producer of considerable talent. With Robert Wyatt contributing narrated passages from the works of Japanese novelist Haruki Murakami, this could easily have been a jarringly pretentious record. In actuality, its peculiarly moving, with those long, tremulous strings resonant of the best work of Godspeed You Black Emperor.

46. Solomon Burke – Nashville (Snapper)
Since returning to secular music with ‘Don’t Give Up On Me’ in 2002, Solomon Burke has released three very different albums for three different labels. This latest continues a majestic creative renewal, neatly capturing those close links between traditional American country music and the black soul canon. With mostly delicate, acoustic backings, Burke combines gutsy emotion with grand melodrama to sublime effect. As ever, the choice of songwriters and collaborators is thoughtful – with superb contributions from Gillian Welch, Emmylou Harris and Dolly Parton in particular.

45. Benoit Pioulard – Precis (Kranky)
An album well spotted by bloggers but virtually ignored by the press, it would be great to see this one get some further attention in 2007. It has a very peculiar sound, equal parts rustic and modern, and the songs are both elusive and compelling. It’s certainly one of the more distictive singer-songwriter records of the year, and it’s refreshingly hard to pinpoint reference points for Pioulard’s mysterious, eerie concoctions.

44. Dani Siciliano – Slappers (!K7)
Siciliano’s solo albums have been unfairly overlooked whilst her partner and producer Matthew Herbert has gathered ever more critical plaudits. I actually felt this was a more consistent, more playful and more energetic prospect than Herbert’s own ‘Scale’, as Siciliano deployed her sharply ironic glare over modern materialism and exploitation with invigorating results.

43. Skream! – Skream! (Tempa)
Dubstep prodigy Skream!’s debut long player was probably the most immediate, infectious and danceable record emerging from that scene in 2006. It’s not supremely significant and coherent like the Burial record, but it’s nevertheless packed with ideas and invention. I’m hoping this sound has plenty of life in it yet.

42. Toumani Diabate’s Symmetric Orchestra - Boulevard de L’independence (World Circuit)
This is a splendidly joyful record, full of spirit and energy and noteworthy simply for Diabate’s exquisite mastery of the Kora, an instrument that is rarely heard in the western world. Diabate makes this delicate instrument effortlessly compatible with a big band approach, in a cultural experimentation that sounds much more like synthesis than clash. Superb.

41. Clogs – Lantern (Talitres)
This group featured members of American indie rock combo The National, although it was hard to detect this from the unique chamber sound this peculiar ensemble crafted. These skeletal, almost archaic mostly instrumental compositions sounded pretty much unlike anything else in 2006, and went shamefully neglected here in the UK.

40. Elvis Costello and The Metropole Orkestar - My Flame Burns Blue (Deutsche Grammofon/Universal)
Slipping out early in the year with hardly anyone noticing, this may actually be the best in what many regard as Elvis Costello’s extra-curricular activities. Reimagining his songs with huge orchestral backing has surprisingly brought out some of the nuances in the material (‘Favourite Hour’ becomes even more moving, ‘Episode Of Blonde’ is less forced and more forceful). He is also beginning to sound much more comfortable as a vocalist when he tries on new clothes, and ‘My Flame Burns Blue’ sounds more like a grand achievement than an experiment.

39. Liars – Drum’s Not Dead (Mute)
One of the year’s most uncompromising and thoroughly bonkers records, Liars returned with a gonzoid, rhythm-heavy slice of storytelling viewed from the perspective of two fictional characters. It’s a dense and unforgiving sound, but one that reaps plenty of rewards given careful attention. It’s probably best when at it’s most visceral, inducing a real physical thrill.

38. William Elliott Whitmore - Song Of The Blackbird (Southern)
Whitmore has such a brilliant voice – with something of the gutsy sensuality of Otis Redding that, when delivering his rootsy, rustic country songs, sounds unusually powerful and compelling. It’s even better when he plays the banjo, an instrument these days rarely heard completely unadorned. This is a stark and fascinating record, suggesting that Whitmore is a talent to watch in the coming years.

37. Amy Winehouse - Back To Black (Island)
Whilst I might have dismissed her as ‘whiney’ Winehouse a couple of years ago, ‘Back To Black’ proved me wrong in dramatic style. So many modern R&B records suffer from sounding overly synthetic, or by struggling in vain to recapture a classic sound. Winehouse opted for the latter approach, but actually succeeded in crafting something timeless and soulful. There’s plenty of her own candid observations and experiences on offer (perhaps too much information at times – let’s hope she doesn’t go the way of Millie Jackson and veer into pointless obscenity), and her voice has developed strength and character in the period since her debut.

36. Yo La Tengo - I Am Not Afraid Of You And I Will Beat Your Ass (Matador)
If you’re like me, you may want to skip the extended wig-outs that bookend this album, which are basically nothing other than the entirely expected from this band. Elsewhere, however, they continue to stretch themselves in fascinating directions, and parts of ‘I Will Beat Your Ass…’ represent the band’s most accessible and affecting work to date. YLT are at their best when they are soft and otherworldly, and that side is emphasized strongly here. Album title of the year too, without doubt.

35. Cortney Tidwell - Don’t Let Stars Keep Us Tangled Up (Ever)
Tidwell was one of the major discoveries of 2006, with an expressive voice and an intricate approach to sound and production. Sometimes the influences were a little too easily spotted (nods to Bjork or The Cocteau Twins particularly so), but this album sounded so haunting and elegiac that there’s plenty to suggest that Tidwell will soon capture find her own voice.

34. Trentemoller - The Last Resort (Poker Flat)
One of the best electronic albums of the year, ‘The Last Resort’ was evocative and cinematic, without resorting to tried and tested cliches, and proving that some of the most exciting music continues to be made at the margins.

33. Chris Potter – Underground (Universal)
There are few more striking and extraordinary sounds in jazz right now than Chris Potter’s colossal saxophone bellow. He always plays a lot of notes, but he usually manages to make it sound meaningful (and if not emotional, then at least ceaselessly energetic). His own work is now coming into its own too – and ‘Underground’ is a captivating album that, even in the absence of a bass player, sounds swampy and groovy. His take on Radiohead’s ‘Morning Bell’ is, in my view, better than any of Brad Mehldau’s Radiohead interpretations.

32. Califone- Roots and Crowns (Thrill Jockey)
Yet another one that’s gone largely unnoticed here, and I can’t quite fathom why. Magazines such as Uncut and Mojo spend so long praising the virtues of the spurious ‘alt-country’ genre that they fail to notice when an album that genuinely fuses the ‘alternative’ with ‘country’ actually comes along. This is a more consistent, accessible and compelling album than the admittedly excellent ‘Heron King Blues’ (the album which introduced me to the band last year), and is full of intriguing sounds, strange song titles and unusual lyrics, whilst keeping one foot firmly in the American roots tradition.

31. The Hidden Cameras – Awoo (Rough Trade)
The best of these songs will lodge themselves in your memory and refuse to disappear. They are also endearing, joyously optimistic and accessible, whilst retaining the band’s character and stance. The combination of Joel Gibb’s slightly nasal but enthralling voice set against the wonderfully lush string arrangements continues to work wonders, but with ‘Wandering’ and ‘Hump From Bending’ particularly, they are at last expanding their musical reach.

30. The Neil Cowley Trio – Displaced (HideInside)
Listening to this, it’s hard to believe that Neil Cowley was once a member of the Brand New Heavies, possibly one of my least favourite bands of all time. There’s such a variety of styles here, and this album demonstrates that, far from being restricting, the piano trio setup can be extremely liberating. Cowley’s trio have been conveniently labeled as Britain’s answer to EST. Whilst there’s an element of truth there, it’s a bit reductive – as there are echoes of classic Oscar Peterson and some seriously heavy grooves too. The playing throughout is considered and expressive.

29. Candi Staton – His Hands (Honest Jon’s)
Another great record inexplicably omitted from most of the mainstream lists – it’s another example of a gutsy soul singer returning to secular music after years in the gospel wilderness. Sadly she rejected Kurt Wagner’s songwriting contribution, but generally shrewd song selections made for a fascinating collection. She demonstrates the strong links between country and soul by tackling Merle Haggard, and the undoubted highlight is the Will Oldham penned title track, a thoroughly remarkable piece of music. Mark Nevers’ production is stately and unobstrusive.


28. Erin McKeown - Sing You Sinners (Nettwerk)
The continuing indifference to McKeown in this country is a massive injustice. Not content with having released three albums of outstanding original songwriting, she returned to the record collection she grew up with for this album of jazz and theatre standards. It’s magnificent of course, far from just a retread of traditional forms, as McKeown effortlessly breathes distinctive new life into what could be tired material. Her selections are brave too, from the potentially obvious (‘Get Happy’), to the virtually unknown. Technically adept contributions from drummer Alison Miller help keep the proceedings lively and playful.

27. Bonnie ‘Prince’ Billy - The Letting Go (Domino)
Will Oldham is continuing his regeneration apace. Last year’s ‘Superwolf’ project finally directed him away from his contrarian impulses into something more productive, and there’s definitely an argument to suggest that ‘The Letting Go’ is his finest album since ‘I See A Darkness’. It’s soft, gentle and frequently sounds lovely, although there’s plenty of uncompromising experience and sensation to confront in the lyrics.

26. Tom Waits – Orphans (Anti)
Three CDs is probably a little too much Waits for most people, but ‘Orphans’ dependably contained an embarrassment of riches. As I suggested in my original review, the ‘Bawlers’ disc works best simply by virtue of being a collection of ballads that mostly eschew the junkyard stomp that is perhaps beginning to sound over-familiar. Waits demonstrates the variety and depth of his voice across these tracks, it is always the focus, and usually the most effective of the instruments.

25. Andrew McCormack – Telescope (Dune)
It’s a golden time for British jazz at the moment, and McCormack has not only proved himself a gifted pianist, but also an intelligent composer and bandleader too, and ‘Telescope’ is one of the most dynamic and exciting trio albums of recent years, at a time when the genre is not exactly short of high achievers. It’s most simple and direct, with swinging themes and effervescent soloing, and it certainly benefits from the outstanding contribution of drummer Tom Skinner, who keeps everything moving with understated skill.

24. Beirut - Gulag Orkestar (Ba Da Bing/4AD)
Gathering high praise first on the internet, and then from independent record stores and magazines, Zach Condon'’ extraordinary debut received two UK releases in 2006, and was afforded deserved promotion the second time around. It’s a brilliantly crafted collection of melodious, sometimes melancholy songs, all bolstered by a weird array of horns and wind instruments that place it somewhere akin to the Balkan gypsy music beloved of filmmaker Emir Kusturica. As a result, it veers from the sensitive to the sensational, and from the beauteous to the bawdy. Splendid.

23. Patricia Barber – Mythologies (Blue Note/EMI)
This is an album of languid and lugubriuos beauty, and it’s so wonderfully refreshing to hear a female jazz vocalist produce something genuinely challenging after all the overloading of coffee table conventions from the likes of Diana Krall and Madeleine Peyroux. Barber’s voice is soft (frequently almost whispered), and her focus is on phrasing and language over melody. Her ensemble are also magical, crafting an enthralling variety of settings for her musings on mythological figures.

22. Rock Plaza Central – Are We Not Horses? (Sound Outside)
A concept album about metallic robot horses? They can’t be serious, can they? Indeed, they are – and with their sound neatly capturing a hybrid of Neutral Milk Hotel’s warped indie, Sufjan Stevens’ majestic arrangements, and Will Oldham’s lyrical candour, this Toronto band have hit on something rather urgent and magical. After their 8.4 score on Pitchfork, they’re almost certainly ones to watch for 2007 too.

21. Oriole – Migration (F-IRE Recordings)
This fluid, fluent and peaceful combination of folklore and jazz sounded both serene and captivating. Jonny Philips’ rhythmic accompaniments define the band’s sound, and his compositions are immediately warm and melodically inventive. The combination of Ingrid Laubrock’s richly exquisite sax and Ben Davis’ longing Cello also added to the unique appeal of this charming, considered music.

20. Neko Case - Fox Confessor Brings The Flood (Anti)
One of the year’s more elusive and mysterious albums lyrically, ‘Fox Confessor’ wasn’t just an extension of that warm, reverb-drenched sound Case captured so well on ‘Blacklisted’, it was the superior formulation of her vision. Even at a relatively brief running time, it’s a dense, unusual and thoroughly captivating.

19. Camera Obscura - Let’s Get Out Of This Country (Elefant)
It’s not just what Belle and Sebastian would be like if they were still good, it’s what they’d be like if they had managed to make a whole album of songs as brilliant as ‘Lazy Line Painter Jane’. The combination of indie whimsy and northern soul feeling worked tremendously well, helped along by a superb set of highly infectious songs from TraceyAnne Campbell, delivered with customary understatement.

18. Ali Farka Toure – Savane (World Circuit)
The great Mali bluesman’s last album captured his essence with quiet dignity, and the description of him as ‘the king of the desert blues singers’ can hardly be contested on the basis of this evidence. The language barrier is not a problem either – it’s the spirit and feeling of these repetitive, circular songs that carry their meanings. Although Toure was already taken ill during these sessions, he had hardly sounded more alive. ‘Savane’ is a highly fitting tribute.

17. Cat Power - The Greatest (Matador)
A record that divided opinion among Chan Marshall’s longstanding fans, but newcomers were understandably enchanted. Personally, I don’t think there has ever been a better setting for her lugubrious, occasionally hypnotic vocals. With the backing of the Memphis musicians that so ably supported the likes of Al Green and Ann Peebles, Marshall emerged as a modern day Dusty Springfield, captivating and effotlessly soulful.

16. Matmos - The Rose Has Teeth In The Mouth Of A Beast (Matador)
Comfortably the duo’s best work to date, this finally saw them combine a conceptual, theoretical approach with music that simply sounded radical and audacious. With each of the tracks paying homage to a different gay icon (from Larry Levan to Wittgenstein), this captured the group’s background and influences whilst also keeping eyes firmly fixed on the future. This group really make the most of their samples and sounds, crafting something both perplexing and visionary.

15. Dave Holland Quintet - Critical Mass (Universal Jazz)
Still one of the best small groups in jazz, this group can draw wonders from the simplest of themes, and even with Nate Smith replacing Billy Kilson on drums, they still sound unfathomably tight. The long solos demonstrate the ability of these musicians to both generate and develop ideas, and they remain comfortable experimenting with both time and form. It’s a genuine thrill to hear this masterful combination of intelligent composition and inspired spontaneity.

14. Gnarls Barkley - St Elsewhere (Warners)
For most people, it was all about the ubiquitous ‘Crazy’, one of the genuinely great number ones of the century. Actually though, there was plenty more to admire on ‘St Elsewhere’, a satisfyingly scattershot collection that never settled for the lowest common denominator. It’s always pleasing to hear a pop record that proves that commercial music needn’t be manufactured by committee or produced to buggery – this just sounded like a duo of creative talents luxuriating in confounding expectations, and getting away with it too!

13. EST - Tuesday Wonderland (ACT:)
The best EST album in a while, adhering fairly predictably to their established sound, but pushing it in more exciting and contemporary directions. The chamber restraint of ‘Viaticum’ was largely abandoned in favour or ostentatious rhythmic devices and intricate composition, and whilst the modern ambience was very much intact, this sounded like a group still striving to push the boundaries of the trio format.

12. Johnny Cash - American V: A Hundred Highways (American Recordings)
With Cash at his most frail, and with his vocals recorded mostly in islolation and then grafted on to backing tracks completed by Rick Rubin after his death, this was very much a posthumous album in all senses. Yet, there’s something more than ghostly resonance here – something that captures the very essence of Johnny Cash at both his most vulnerable and his most towering. This was the sound of a man staring death squarely in the face, with dignity and compassion.

11. Kenny Garrett - Beyond The Wall (Nonesuch)
Even the specialist jazz publications seem to have undersold this a bit – it’s an absolute creative triumph for Garrett. There’s none of the smoothing of rough edges that sometimes hamper his themes, and has, so I’m reliably informed, been a serious problem at recent live shows. This is a deeply passionate, spiritual album, capturing the spirit of the East with instinctive force. It also has some beautifully elegiac passages, and Garrett even tries his hand at piano, with surprisingly effective results. Overall, it’s the superb band who really make this work – Garrett frequently takes a backseat to Pharoah Sanders’ explosive blowing, and Mulgrew Miller plays some full, highly supportive piano. Brian Blade mostly steers clear of his more freeform drumming, instead swinging with intelligence and real joy.

10. Bob Dylan – Modern Times (Columbia)
It usually takes a while to get to grips with a new Bob Dylan collection, and after returning to this numerous times, I’m starting to feel it may actually be the best of the supposed trilogy that began with ‘Time Out Of Mind’. I initially highlighted ‘Workingman’s Blues No. 2’ and ‘Nettie Moore’ as the major songs, and I stand by that statement, although I would now add the superb ‘Spirit On The Water’ and ‘Ain’t Talkin’ too. Like ‘Love and Theft’ before it, this is a collection that revels in old musical forms and zesty lyrical references (sometimes direct steals), and like its predecessor, its brimming with imaginative good humour. It of course benefits from the outstandingly crisp and vigorous playing of the touring band, but the real revelation is the voice. Whilst lyrics have frequently been rendered incomprehensible in live performance, the phrasing here is as majestic as ever, and Dylan seems to have found the perfect context for his throaty intonations.

9. The Decemberists - The Crane Wife (Rough Trade)
I’m not really sure what’s going on with this! I bought it on Rough Trade (a UK label) at a reasonable domestic price, a couple of months ago, but the current consensus is that the UK release of this comes in 2007. Have Rough Trade decided that simply slipping this out with no promotion whatsoever was a huge disservice to this remarkable band, who simply keep getting better with every release? ‘The Crane Wife’ is an ambitious song cycle, based in part on a Japanese fable, a medium that very much suits this band’s whimsical preoccupations. It’s the band’s most consistent and thrilling album, veering from stark murder balladry to powerfully intense rock dynamics. It’s a very invigorating listen and, if prepared to immerse oneself thoroughly in its rustic, mock-historical landscape, something akin to a minor masterpiece.

8. Hot Chip - The Warning (DFA/EMI)
How utterly brilliant it is that Hot Chip have gone so far this year and entirely on their own terms too. ‘The Warning’ made leaps and bounds from ‘Coming On Strong’ in that it retained their caustic irony and kitchen-sink approach but also made real sense when ingested as a whole. For me, their sensitivities are still as vital as the infectious pop, and, having boosted their profile considerably here, it will be interesting to see where they take their sound next (the sublime new track ‘Graceland’ shows massive promise). But for now, ‘The Warning’ is ample evidence of Hot Chip’s talent, from Alexis Taylor’s winning way with a melancholy melody (as showcased on ‘Boy From School’ and ‘Look After Me’ particularly), to their constant ambitions in pushing sonic boundaries. Where so much electronic pop is frosty and austere, this was both inventive and warm. It’s playful for sure, but it’s meaningful and affecting too.

7. Subtle - For Hero: For Fool (Lex/Warners)
Where on earth was this in the mainstream press albums of the year lists? It might be forgiveable that some find Doseone’s stream-of-consciousness rapping simply unpalatable, but other Anticon projects such as Clouddead and the Boom Bip/Doseone double act have received plenty of column inches. I struggle to think of anything released this year that was so wilfully unpredictable and captivating, rapid thinking in real time set to music that sounded thoroughly radical and unhinged.

6. Joe Lovano Ensemble - Streams Of Expression (Blue Note)
For peerless improvisation, intricate and detailed arrangement, and a scholarly understanding of the jazz tradition, this was the essential jazz recording of 2006. Lovano remains an outstanding player – full of ideas but also able to produce that immense sound that can swing between the gutsy and the sensitive at a stroke. The reworkings of Miles Davis’ ‘Birth Of The Cool’ music here are not the work of a slavish standards group, but the intelligent, passionate performances of a group demonstrating that there is always new life and meaning in timeless material.

5. TV On The Radio - Return To Cookie Mountain (4AD)
An album of fascinating sounds and rhythms, with thoroughly distinctive production values. ‘Cookie Mountain’ revealed what the previous long player only hinted at – a band with real invention and depth. Where so many bands define their sound simply through being one-dimensional, TV On The Radio proved themselves multi-faceted and free thinking, able to draw inspiration from a weird and wonderful array of influences and emerging with something unique and exciting.

4. Scritti Politti - White Bread Black Beer (Rough Trade)
Despite its relative lack of commercial success and failure to win the hearts of the Mercury Judges, this is 2006’s most perfect pop album. It is also the album I’ve returned to most this year, completely entranced by Green Gartside’s pinched, slightly androgynous vocals, as strange and beautiful a sound as you could hope to hear. The context here is new though – whilst the last Scritti album (‘Anomie and Bonhomie’) tried to integrate Gartside’s love of hip hop a little too explicitly, ‘White Bread Black Beer’ straddles genre classification in a more organic way, and there can be little doubt that the lo-fi, home-made approach has helped in this regard. Despite all the US influences (from The Beach Boys to Run DMC), it also sounds like a very British album; observant, witty and intelligent to the core.

3. Burial – Burial (Hyperdub/Kode9)
Krissi Murisson of the NME may proclaim publicly that her publication is the only definitive guide to new music, but if she wanted any proof of the power of the web to generate real excitement around a new release, she need only look to this album. I first read about this early in the year on a handful of blogs, and the writing around this album was some of the most ardently enthusiastic and sophisticated music writing I’ve read in some time. It was some time before I actually managed to find a copy, so dire was the original distribution, but when I finally heard it, the excitement made perfect sense.

Although largely instrumental, ‘Burial’ is an album many people can easily relate to. Nevermind Beyonce, Chamillionaire or any other fatuous materialist gushing, this album has a real, gritty urban sound. It is also determinedly dark, almost the soundtrack to an impending crisis or apocalypse. It is dubstep’s first (and I fear possibly last) longform masterpiece and its eerie calm-before-the-storm lingers in my mind with real clarity.

2. Scott Walker - The Drift (4AD)
The most significant and singular artistic statement of the year, ‘The Drift’ may be a record too intense for some people to accept. Whilst it follows naturally from the avant-garde preoccupations of ‘Tilt’ and ‘Climate Of Hunter’, it is so much more confrontational and challenging than even those records. Yet the challenge is, in this case, utterly necessary. ‘The Drift’ makes us all confront the most terrifying elements of this world and is, as such, a far more accurate summary of ‘modernity’ than any of Tony Blair’s recent policy statements, domestic or foreign. It is the most political record of the year, in that it addresses directly, and in the starkest possible terms, how we have created a world that drifts inexorably towards tyranny, abuse of power, violent conflict and suffering.

Every sound on this record is deeply considered and presented for maximum visceral and emotional impact, from the sound of sides of meat being slapped to the masterful string arrangements. The clattering percussion consistently hints at turmoil and terror, and Walker’s voice now seems a completely new instrument, no longer the full baritone of his youth, now a higher, more attacking presence. His strange, semi-improvised intonations of these outlandish words is the centrepiece of this extraordinary, highly theatrical concoction. This is much more like a ‘rock opera’ than anything Pete Townshend could dream up, with its cast list of major figures (Mussolini, Elvis etc) and numerous cultural references (indeed, The Who’s ugly ‘Endless Wire’ pales into significance next to this). This is a record for which the word ‘harrowing’ is not too strong. It is a monument to a world of fear and threat – a world we would all much rather change yet, regardless of intention, we only end up intensifying.

1. Bruce Springsteen - We Shall Overcome: The Seeger Sessions (Columbia)
It’s peculiar that in a year when so much forward thinking music was made (although sadly so much of it routinely ignored), my favourite record should be the one that most emphatically looked back. Well, if the maxim that sometimes you need to do just that in order to move forward needed proving, Bruce did it in dramatic and (yes, this is important) highly entertaining style. 1987’s ‘Tunnel Of Love’ mostly felt like a sombre reaction to the excesses of the Born In The USA years, and Springsteen’s music since then has, in the main, heightened his reflective side. Even the comparative bombast of ‘The Rising’ was most characterised by post-9/11 melancholy and reflection. So, ‘We Shall Overcome’ felt like a reiteration of Springsteen’s talents as an energiser, a showman and a performer. The live shows accompanying this release were as significant as the record itself, with a cajun party atmosphere and a sheer joy in making music.

Even the hoariest of these old American folk songs sound newly invigorated in the hands of Springsteen and his superb new band, and there’s a palpable spirit of (re)discovery throughout the record. Everything is loose and thrilling, and Springsteen’s voice has rarely sounded so raw and powerful. The audible directions he gives to the band show him as master bandleader, and there is a constant drive to breathe new life into this evocative material.

Even in this context, Springsteen still finds room for reflection, the title track becoming a solemn prayer, and that wonderful standard ‘Shenandoah’ has all the vastness of the American continent, and the awesome flow of the river it describes.

Whilst ‘Devils and Dust’ and ‘The Rising’ both had extraordinary moments, ‘We Shall Overcome’ is a far more consistent and rewarding record, and in its newly expanded ‘American Land’ edition is a towering achievement in an already vital canon. The only thing that could make this fascinating project better still would be another album with this band (either studio or live) featuring some of the wild and enthralling re-interpretations of Springsteen songs performed during the course of the tour. Let’s have it Columbia!

Albums Of The Year 2006

Wot, no Arctic Monkeys? No Razorshite? No Fratellis? No Kooks?


Hopefully those revelations won't spoil your enjoyment of this list too much! Every year that goes by, I consume a wider variety of music, and every year that goes by, these lists get harder to compose. That is, of course, what I love about it - but I increasingly wonder how magazines manage to cover the whole year with just a top 30 or even a top 50. There was so much great music this year, although it’s worth stating that the top 10 of this list really are clear standouts for me. Some caveats as usual - there are plenty of no doubt great albums that I haven’t heard in their entirety yet - particular apologies must go to MJ Hibbett, as I’ve been meaning to purchase his ‘We Validate!’ album for some time. Also absent are the likes of Clipse, Booka Shade, Nathan Fake, Current 93, James Holden, Bill Frisell/Ron Carter/Paul Motian, Branford Marsalis, Grizzly Bear, Gotan Project, Andrew Hill, Micah P Hinson, The Knife, Ooioo, Old Crow Medicine Show, Brad Mehldau and Pat Metheny, Prefuse 73, Tomasz Stanko, Tilly and The Wall, Adem, Blood Brothers, The Hot Puppies, Islands, Dabrye, Destroyer and many others, simply because they haven’t landed in my collection yet. Oh, and I’ve left out Joanna Newsom simply because I’m not quite convinced yet, and it strikes me as the sort of album that doesn’t invite indifference. It’s either got to be near the top or nowhere… An honorary mention must go to Exercise 1’s superb 50 Minutes compilation, which I haven’t included here due to the fact that my own band Unit (sadly now defunct) are included on it. All proceeds go to the Medical Care Foundation for victims of torture, and it’s a consistently enthralling collection of 50 1 minute long songs from 50 artists. With the likes of After Christmas, Piney Gir, Jeremy Warmsley, Emmy The Great, The Hot Puppies and the beguiling Laura Groves (definitely one to watch in 2007), it’s a great cast of mavericks and tunesmiths. Of the final list, I inevitably leave myself vulnerable to accusations of ‘genre tokenism’ - but I’d much rather reflect the range of music I enjoy in any one year than focus on one particular area. So, without further ado, here’s part one (100-51)….

100. A Hawk And A Hacksaw – The Way The Wind Blows (Leaf)
Having worked with Neutral Milk Hotel and on the excellent Beirut album (more on that later), Jeremy Barnes’ project were always going to be worth investigating. This actually traverses very similar ground to the Beirut record, drawing on some unusual influences, particularly Eastern European folk music. A quick look at the later, bawdier films of Serbian director Emir Kusturica will give a good idea where this sound is coming from, but it’s filtered through that instantly recognizable US indie spirit. Good to see the Leaf label continuing to branch out, it’s still one of the most interesting and dependable labels out there.

99. Pet Shop Boys - Fundamental (Parlophone)
Comfortably their best album since ‘Very’, but given the poor standard of the intervening releases, that wasn’t too difficult. It’s sadly weighted a little heavily in favour of mood pieces and ballads, but it’s where the band return to their 80s pop roots that they are at their most musically effective. That they coupled this back to basics approach with some thoroughly contemporary and neatly observed social and political ruminations has saved them from marginal irrelevance. A smart, incisive record that should have come from a much younger band.

98. Morrissey – Ringleader Of The Tormentors (Attack/Sanctuary)
Another of those ‘mixed bag’ albums, this saw Morrissey veer between his most inspired and his most predictable. If ‘The Youngest Was The Most Loved’ was another rewrite of the corrupted young criminal song Morrissey has been writing since the mid-80s, ‘Dear God, Please Help Me’, ‘At Last I Am Born’ and ‘Life Is A Pigsty’ introduced entirely new elements to his work – a sense of epic grandeur and what seemed like sincere personal experience. Some may read too deeply into this material, and Moz undoubtedly still loves nothing as much as provocation, but the best of this album sounded strangely joyful and triumphant.

97. Mystery Jets – Making Dens (679)
A strange line-up involving a father and his son, two drummers and a whole collection of weird and wonderful songs in the best English pop tradition, Mystery Jets immediately seemed like an exciting prospect. If the loss of Syd Barrett was one of 2006’s sadder moments, this band are doing more than any other right now to keep his madcap spirit alive.

96. Tom Petty – Highway Companion (Warners)
This dusty, dirt-road gem was one of the surprises of the year for me. It soundtracked a good part of my long car journeys between London and Aberystwyth and back during the summer, and proved itself the perfect driving album. It’s Petty’s best collection of songs for some time, and even Jeff Lynne’s production, usually uncomfortably smooth and glossy, fails to intrude. Petty’s deceptively simple lyrics also include some worldly wisdom too.

95. Lindsey Buckingham – Under The Skin (Warners)
If anyone had told me at the start of the year I’d be including a solo album from Fleetwood Mac’s lead guitarist in my albums of the year list, I’d probably have laughed out loud. Yet this album is genuinely excellent. It’s an acoustic singer-songwriter album, but one that breaks with so many traditions and conventions that it sounds largely unprecedented. This is one of the few solo acoustic albums in recent years to really make full use of the studio – so much of it sounds strange and refreshingly inventive. There’s also denying the technical virtuosity of the playing, which frequently serves to add gravitas.

94. Flipron – Biscuits For Cerberus (Tiny Dog)
I first saw Flipron at the free festival Strawberry Fair in Cambridge (sadly currently under threat because of changes to the way policing at big events is funded), and they proved one of the discoveries of the year. Although there’s definitely a retro/psychedelic influence on display here, this was no reverent musical history lesson. In the song titles alone, there’s a wickedly inventive wit at work, and the songs themselves are playful and exceedingly entertaining.

93. Various Artists – Rogue’s Gallery (Epitaph)
An album of sea shanties and pirate ballads? Curated by Hal Wilner on commission from Pirates Of The Caribbean director Gore Verbinski? What a bizarre prospect. If a sizeable chunk of the cast list didn’t exactly look inspiring (Sting, Bono, Brian Ferry), it’s remarkable what artists can achieve when given an interesting project. With the band comprised of members of Akron/Family and Pete Thomas from Elvis Costello’s band, the music veers between the raucous and the desolate, whilst the lyrics are frequently outrageously bawdy.

92. Jarvis – The Jarvis Cocker Record (Rough Trade)
One of those albums that I really wanted to place at the top end of the list, but is just slightly let down by strange sequencing and a couple of ineffectual tracks (concluding on a note as banal as ‘everything is gonna be all right’ just doesn’t seem right for Jarvis). It’s actually the natural successor to ‘We Love Life’, and might just as well have been the next Pulp album. The emphasis is again on mordant reflection refracted through characteristically sharp wit, and some of the instrumentation is spend (the rare deployment of a marimba on ‘Baby’s Coming Back To Me’, the thunderous thud of ‘Black Magic’). The highlight is still ‘Running The World’, not only politely titled, but hidden away 30 minutes after the end of the album proper – a delightfully righteous, and mostly accurate, rant about the improper order of things.

91. The Long Blondes – Someone To Drive You Home (Rough Trade)
One of the few hyped indie bands I actually warmed to this year, mainly by virtue of Kate Jackson’s thrilling bellow of a voice and a set of immediately winning tunes. The lyrics are every bit as cannily observed as those of the Arctic Monkeys, but somehow don’t seem to have been gifted as much attention. In particular, they seem to deal very thoughtfully with the variety of relationships between women – from sisterhood to sexual experimentation.

90. Piney Gir’s Country Roadshow - Hold Yer Horses (Truck)
A lovely album, with Piney’s witty and occasionally touching take on country conventions ably supported by a band who play with authenticity and vigour.

89. Bat For Lashes - Fur And Gold (Echo)
One of those albums where you have to completely yield to the world it creates for itself. The preoccupation with fantasy, mysticism and magic in the lyrics leaves ‘Fur and Gold’ open to accusations of pretension, but there’s a mystery, grace and fairytale quality to this album that renders it spellbinding. Natasha Khan has huge potential.

88. Midlake – The Trials Of Van Occupanther (Bella Union)
My review of this album from a few weeks ago had an underlying suspicion of blandness that I’m already beginning to retract. The nuances keep coming through on each repeated listen, and the blend of exquisite vocal harmonies, piano backing and exotic instrumentation sounds increasingly sophisticated. Crosby, Stills and Nash and Rumours-era Fleetwood Mac may be unfashionable influences, but it’s precisely this that set Midlake apart from the generic indie pack in 2006. Midlake have constructed a mysterious and antiquated landscape in much the same way as The Decemberists, and they have populated it with a collection of rewarding, slow-building songs.

87. I Love You But I’ve Chosen Darkness - Fear Is On Our Side (Secretly Canadian)
Like Interpol jamming with Ministry, this was a pulsating, relentless and highly effective bulldozer of a record. It’s loud, propulsive and dramatic, and there’s no resisting it!

86. Paul Burch - East To West (Bloodshot)
Not perhaps Burch’s very best work, but still with plenty to offer, and, in the case of ‘John Peel’, a genuine, sincere and profoundly moving tribute. He remains one of America’s best unsung songwriters, and a master of that authentic barroom country sound. He’s also a superb singer, with a deceptively laid-back, conversational style that really elevates his material.

85. Loose Fur - Born Again In The USA (Domino)
Perhaps more conventional than the first Loose Fur album, but actually much better than many suggested, with vibrant playing and plenty of real freedom. Without having to conform to conventional expectations, Loose Fur continue to play with form to delightful, occasionally comic effect.

84. Junior Boys - So This Is Goodbye (Domino)
Not quite the masterpiece some thought, mainly because the second half drifts too far into the ether and becomes dull, but the good points comfortably outweigh the bad. At its best, it’s a marked improvement on the more-than-promising first album ‘Last Exit’, and Jeremy Greenspan’s endearingly smooth voice makes for an effective instrument in itself. The synth-heavy backings are frequently unusual and highly creative – ‘In The Morning’ in particular is one of the most interesting sounding tracks of the year.

83. Sparks - Hello Young Lovers (Gut)
‘Hello Young Lovers’ was a bonkers, highly ornate and totally hilarious pop irony master class from these old heroes. They’re actually right back at the top of their game, and this sits comfortably alongside ‘Lil Beethoven’ as a fine example of their best work.

82. Tortoise and Bonnie ‘Prince’ Billy - The Brave and The Bold (Domino)
This one has been very peculiarly ignored. Those who wanted to hear straight covers of these songs would certainly have been disappointed - every track the two bands selected for this project has been completely remoulded, perhaps even reclaimed, and the results are frequently inspiring.

81. Magnolia Electric Co. - Fading Trails (Secretly Canadian)
Another year, another succession of Jason Molina albums. This one gathers together some songs that didn’t make the cut for their forthcoming ‘proper’ albums next year. Molina’s voice is more resonant and confident than ever, and the music veers from the strident to the decidedly haunting. The work of a maturing, increasingly superb songwriter.

80. The Gothic Archies - The Tragic Treasury (Nonesuch)
This is Stephin Merritt at his most playful, recording a collection of songs for the Lemony Snicket audio books. They pretty much encompass all his genre experiments, from deliberately wonky synth-pop to ukelele dominated modern folksong. As such, this may be as good a starting point for the uninitiated as ever.

79. Elvis Costello and Allen Toussaint - The River In Reverse (Lost Highway)
An important record, first because it unites two major musical figures, but secondly because it marks a long form response to the tragedy of Hurricane Katrina and a joyful celebration of the musical heritage of the city of New Orleans. Some of this is wonderful - with Costello sounding gritty and impassioned, and full of righteous fire. The only gripe is that it would have been good to hear more of Toussaint’s laconic voice - the contrast in styles between the two is marked and intriguing

78. Yeah Yeah Yeahs - Show Your Bones (Dress Up/Polydor)
Anyone suggesting the Yeah Yeah Yeahs had lost some of their lustre on this follow up to the acclaimed ‘Fever To Tell’ may simply have been listening for something that wasn’t there. This is a superbly produced record, characterised by inventive deployment of rock dynamics. Karen O’s voice has developed into something rather more controlled than the untamed howl that dominated on ‘Fever…’ and the whole album sees the band in confident, imaginative form. A more nuanced record than its predecessor, but no less feral.

77. Band Of Horses - Everything All The Time (Sub Pop)
Song for song this is one of the best albums on the entire list, although the nagging sensation that the band have simply aped the My Morning Jacket reverb-laden rock sound leaves it lingering further down the list than I would ideally have liked. It’s a forceful record nonetheless though, made all the more impressive by its relatively concise running time.

76. Wilderness - Vessel States (Jagjaguwar)
Perhaps only marred by the fact that it sounded exactly like the previous Wilderness record, this spindly, occasionally frightening record, heavily influenced by ‘Metal Box’ era PiL, is included here largely in recognition of the fact that I missed their debut last year. More of the same, but it’s a compelling sound.

75. Steve Coleman and Five Elements - Weaving Symbolics (Label Bleu)
Probably the most ‘difficult’ record I’ve heard this year, and not one I’ve been inclined to return to very often, simply because Coleman remains one of the most defiantly serious musicians at work. With his emphasis on conceptual structures and thematic approaches, he might even be considered pretentious, were it not that he has the compositional skill and sublime quality of musicianship to back it all up. ‘Weaving Symbolics’ is dense, furious and provocative – the work of an undoubted major talent exploring the wilder margins of contemporary music.

74. The Flaming Lips - At War With The Mystics (Warners)
Not as immediate a record as ‘Yoshimi…’, and certainly not as inspired as ‘The Soft Bulletin’, ‘At War With The Mystics’ still had much to recommend it when taken on its own terms. The infatuation with bleeps and silly sound effects was mostly superceded by the dense atmospheres the band craft so well, and a maverick lack of respect for conventional structure pervades the record. Wayne Coyne was in fighting form too, although some of the lyrics elected not to confront geopolitical issues directly. As ever, the results were supremely ambitious and touchingly humane.

73. James Hunter - People Gonna Talk (Rounder)
Hunter, together with increasingly infamous London engineer Liam Watson, crafted a really charming record that effortlessly combines the influence of the peerless Sam Cooke with a splendidly authentic pop-blues sound. There were hints of ‘Papa’s Got A Brand New Bag’ in the punchy horn arrangements, but the remarkably crisp rhythm section and smart phrasing of Hunter’s understated vocal added originality and depth.

72. Psapp - The Only Thing I Ever Wanted (Domino)
‘Toytronica’ may be one of 2006’s more unpalatable genre terms (much like when Hot Chip were unfortunately labeled ‘game boy music), but Psapp’s playful electronic pop proved thoroughly charming. There’s something of Tom Waits’ junkyard approach here, but there’s also humour and a real sense of fun and adventure.

71. Ne-Yo - In My Own Words (Universal)
Well who cares about image or fashion? Most readers here might be surprised at my admiration for this record, but I still think it’s one of the most sophisticated and entertaining albums to have come from the US R&B market in a long time. It’s incredibly smooth, and the influence of R Kelly is palpable, particularly in Ne-Yo’s remarkable self-confidence in his own seduction skills. The reason this works is because it mostly eschews production trickery in favour of good old fashioned songcraft. Ne-Yo’s writing will hopefully mature, but there is enough to enjoy here already.

70. The Lemonheads - The Lemonheads (Vagrant)
The press may focus on his years of drug abuse, or his slightly shambling appearance, but in terms of songcraft, Evan Dando can simply do no wrong. The new line-up, particularly with Bill Stevenson from The Descendents on drums, have crafted a crisper, more defined sound for this outing, and the songs remain memorable and punchy as ever. Mercifully in this case, very little has really changed in The Lemonheads sound. The one niggling gripe may be that others have now captured the signature Evan Dando style better than the man himself – the most successful (and characteristic) contributions here come from Stevenson and longstanding collaborator Tom Morgan.

69. The Broken Family Band – Balls (Track and Field)
BFB comfortably remain my favourite UK live rock act, and with ‘Balls’, they finally produced an album that distils the raucous essence of their live shows. Perhaps this time emphasizing the punk over the country, these were mostly loud and energetic songs that provided the perfect complement for Steven Adams’ savage dry humour.

68. Ellen Allien and Apparat - Orchestra Of Bubbles (Bptich Control)
One of the most fascinating and subtle electronic albums of the year, this was music for the head as well as the feet, with distant sounds, propulsive beats emerging and disappearing, and some cleverly processed, slightly detached vocal parts. It all melded together effortlessly, sounding mysterious and compelling.

67. Calexico - Garden Ruin (City Slang)
Another record inexplicably missing from a number of end-of-year polls, especially as the integration of rock dynamics marked something of a sidestep for this well established band. This is not to say that their desert Mariachi concerns have been abandoned completely – but there’s a definite shift of emphasis to the basics of songcraft here that works surprisingly well.

66. The Roots – Game Theory (Def Jam)
‘Don’t Feel Right’ alone in worth a thousand 50 Cents or Chamillionaires. Here was a hip hop album with something to say, and with expertly produced music that as as tight as anything in the seventies funk canon. This may come to be recognised as The Roots’ finest achievement. ‘Phrenology’ might have been more obviously ambitious – but this is both taut and concise, and highly effective for it.

65. Kode 9 and Space ape - Memories Of The Future (Hyperdub/Kode9)
2006 was the year that dubstep became a recognised genre outside its own scene, and ‘Memories Of The Future’ was one of the major statements emerging from the field. Enjoyment of it does largely depend on one’s opinion on Spaceape himself, his deep, West Indian intonations may either enthrall or irritate. I find this album peculiar and almost alien in its sound and atmosphere, yet, like its counterpart in the even more substantial Burial album, there’s a real sense of urban alienation here that is recognisable.

64. The Handsome Family - Last Days Of Wonder (Carrot Top)
This ended up one of those ‘take for granted’ albums, given that it didn’t exactly represent any major development or progression in the established Handsome Family gothic Americana sound. Still, it’s as a good a collection of songs as they’ve produced. In ‘Beautiful William’, they had an eerily beautiful ballad to match ‘Birds You Cannot See’ or ‘The Giant Of Illinois’. There’s also the sense that the music is gradually becoming less rudimentary and more expansive, but without compromising the ethos behind it.

63. Donald Fagen - Morph The Cat (Reprise)
The Steely Dan man continues his rather futile quest for musical perfection, and I can’t help but think that a little more of the life and energy of earlier Steely Dan works continues to be purified out with each new release. The writing remains exquisite though, and this contains some typically weird, yet also pointedly contemporary songs. Fagen’s voice has now weathered a little with age, and he sounds even drier than ever here.

62. Ralph Towner - Time Line (ECM)
One of the few ECM releases I’ve managed to hear this year, Towner’s latest is a solo guitar album of real contemplative beauty. The themes are stately and simple, but they flow effortlessly into improvised passages of astounding fluency. Towner long ago invented a new language for his instrument – it is a source of wonder that he is still drawing new meaning from it.

61. Soweto Kinch - A Life In The Day Of B19: Tales From The Towerblock (Dune)
This is a very good album, full of pithy (and very British) observations and, where the towerblock concept could have been patronising and forced, Kinch had real empathy for his characters and their stories. It could have been great, had Kinch not compromised his aesthetic by programming the drums on the hip hop tracks and keeping live drums for the swing jazz. This created an artificial divide between the two forms, where in live performance the outstanding Troy Miller grooves as hard as he swings. Still, I’m very much looking forward to the second installment of this two album project next year.

60. Glenn Kotche – Mobile (Nonesuch)
The Wilco drummer’s solo work was completely unexpected – with an intriguing take on Steve Reich’s ‘Drumming’ forming a substantial part of it, but also a whole range of interesting experimental percussion work on offer throughout. It sounded completely unlike anything else released in 2006, and was the work of a brave and questing musician distancing himself from some of the more conventional aspects of his band work.

59. Lambchop – Damaged (City Slang)
Business as usual without doubt, but a much more succinct and effective offering than the laboured double set from a couple of years ago. Wagner’s lyrics are somehow both elusive and elucidating, and there is a whole world of hard-won wisdom on offer here. Musically, it’s become yet more sedate, and if there’s an adequate reference point, it would probably have to be the gentle barroom blues of the Tindersticks.

58. Susanna and The Magical Orchestra - Melody Mountain (Rune Grammofon)
This extraordinary covers album continues to grow on me with every listen. I initially thought the uniformity of mood was an obstacle – but actually the consistent tone is crucial to its success. Susanna has taken an intriguing set of songs, many well known, and reinvented them. She does this brilliantly, and the nuances of her Nordic vocals charm and beguile whilst the skeletal accompaniment gives only the stark minimum of support.

57. Stephin Merritt - Show Tunes (Nonesuch)
The better of the two Stephin Merritt records this year by means of its slightly different context (‘The Tragic Treasury’ could in fact have easily been another Magnetic Fields record). However, those who failed to see any connection between this and the rest of the Merritt canon simply because his own voice is absent are simply failing to listen properly. ‘Showtunes’ is jam packed with customarily wry Merritt humour. The music, whilst incorporating a newfound interest in all things Chinese, still follows Merritt’s tendency towards playing conventional harmony with unusual sounds and instruments. The songs are mercilessly concise – and given that they are mostly presented out of chronology, it’s arguably difficult to get a good sense of the shows themselves. It would be great if this could be rectified by having them performed on the stage in this country.

56. Matthew Herbert – Scale (Accidental)
Scale may just be something of a grower. I initially felt it suffered in comparison with the previous Herbert albums in that it sounded much more conventional – at times almost just a highly sophisticated pop album. Yet perhaps there’s really nothing wrong with this, and its more reflective moments do require a degree of work on behalf of the listener that most dance records have no intention of demanding. As ever, the array of sampled sounds is completely bewildering, and Herbert is still a pioneer and an innovator in this area.

55. Jeremy Warmsley – The Art Of Fiction (Transgressive)
Warmsley’s talent continues to develop, and this first longform statement was significant and impressive. Although essentially a collection of pre-released tracks previously spread across Eps and singles, it had been lovingly remastered and sequenced as a complete whole, only interrupted by a brief intermission. Its ambitious scope means that its very difficult to pin down or define Jeremy’s sound – and thank goodness for that! There’s no reason on earth why all music should be confined to neat genre classifications. He is learning to tame and control his voice, and recent live shows have demonstrated that he is using it to even greater effect. I think there is a more mature and consistent record to come from Jeremy – but he is a songwriter and musician of tremendous promise.

54. Comets On Fire - Avatar (Sub Pop)
Heralded as part of a nu-psychedelic movement, what actually struck me most about this album is how rhythmically exciting it is. Regardless of the number of noodling guitar solos, it’s the relentless drive and clatter of the drums and the distant rumble of the bass that do most to sustain my attention. That the vocals are rich in intelligent harmony, and melodic in a quite singular way, helps make it all the more fascinating.

53. Boxcutter - Oneiric (Planet Mu)
Perhaps more typical of the jittering and stuttering of what the Americans would term IDM than the dubstep movement that informed it, Boxcutter’s album was less dense and more exuberant, with a playful skip in its step.

52. M Ward – Post War (Matador)
It’s difficult to judge this when I keep returning to Ward’s outstanding ‘Transistor Radio’ album from last year. This doesn’t affect me so much on a personal level, although the songs are consistently excellent. Some of Ward’s idiosyncrasies may have been buried in the full band arrangements, although the sound is full and powerful. Lyrically, he continues to improve though, and there is the sense that he is maturing and progressing as a writer.

51. The Pipettes – We Are The Pipettes (Memphis Industries)
Killjoys be damned! If there was a more recklessly joyful album released in 2006, I haven’t heard it. The Pipettes are of course lacking originality and depth – but that’s basically the point. This is essentially a loving recreation of the 50s and 60s girl group sound, complete with school proms and a cast of sterotyped characters. It’s hugely infectious and ridiculously enjoyable, as all good pop should be.

50-1 will be with you by the end of the week....

Tidying Up

There's a whole load of stuff I haven't got around to writing about yet, so here's a bit of a catch up in advance of my albums of the year.

First of all, it's time for me to eat some humble pie. A couple of years ago, I reacted violently every time Amy Winehouse appeared on TV or received a glowing review (mind you, that 'Stronger Than Me' single was dreadful...). Two things have made me completely revise my opinions. Seeing her perform a song at Ko's final gig at the Green Note in Camden Town (a tiny cafe venue) was genuinely sensational and, secondly, the consistently high quality of her 'Back To Black' album is something of a revelation. A lot of back to basics soul albums turn out to be bland and insignificant, but her second album very much sees Winehouse finding her own voice. For sure, she's achieved this by heading back to some staple influences for inspiration (Ray Charles, Billy Paul, Donny Hathaway, swing jazz), but there's a soulful spirit to this music that is genuine and unforced. She still remains bolshy and mouthy throughout (with lyrics like 'what kind of fuckery are we/now you don't mean dick to me', one wonders why anyone gets involved with her), but the whole experience now seems much more natural and less contrived. Anyway, she's still a lightweight in the explicit and bitchy department when placed next to someone like Millie Jackson. Mark Ronson's production adds a distinctively modern sheen, with hints of hip hop flavouring, but without diluting the record's timeless spirit. The arrangements are rich and elaborate, but without sacrificing the infectious qualities of peerless pop songs such as 'Rehab' and 'You Know I'm No Good'. Perhaps Winehouse's nasal voice remains an acquired taste, but she seems less interested in simply emulating Billie Holiday this time round, and the vocal phrasing is impressively sophisticated. The highlights are too numerous to list, but the tender 'Love's A Losing Game', with delicate and restrained guitar playing that ably supports her expressive vocal, adds new dimensions to her craft and the title track is supremely ambitious.

The last album from EST (Viaticum) was highly acclaimed and just scraped the bottom end of my end-of-year list for 2005. It is, however, not an album I've returned too much this year, its austere chamber mood feeling a bit stifling and oppressive. Its rapid successor 'Tuesday Wonderland' seems to be one of those take-it-for-granted albums that hasn't quite received its dues from the music press, even in specialist jazz circles. As usual, the titles of the compositions are worth the asking price alone, with 'Brewery of Beggars', 'Dolores In A Shoestand' and 'Eight hundred Streets By Feet' being particular favourites of mine. Musically, it retains many of the staple elements of Esbjorn Svensson's by now signature sound - the subtle integration of electronic textures, gently expanding harmonic motifs, and a subtle, deftly handled rhythmic invention. To these ears, this album pushes these elements further than anything this band have recorded since 'From Gagarin's Point Of View', and has taken them to a new, almost hypnotic effect. It's still much more about sound and atmosphere than the technical virtues of improvisation, but these compositions have more than enough ideas, and the album as a whole is very carefully sequenced.

There are three other jazz albums from 2006 that make for some quietly inspirational listening. Kenny Garrett returns with 'Beyond The Wall', an album that mercifully steers well clear of the banal and smooth territory this excellent musician can sometimes frustratingly inhabit. With Garrett's emotional tones playing alongside some fiery and impassioned blowing from Pharoah Sanders (age seems incapable of diminishing his force and fury), 'Beyond The Wall' neatly juxtaposes the gospel spirit of America with the spiritual and mystical intrigue of the East. It's an intoxicating brew, essential to which is the full and intensely felt piano accompaniment from Mulgrew Miller. As is frequently the case with Garrett, the themes are very simple, occasionally risking sounding insubstantial or incomplete, but in this context, the minimalism feels wholly appropriate, and the keenly felt performances are vibrant and expressive. Albums with spiritual inspirations can seem pretentious, and it's probably a huge help that Garrett managed to get Sanders on board (who played on some of the key albums in Alice Coltrane's series of devotional works and has pioneered this sound himself). 'Beyond The Wall' is, however, gritty and thrilling in its more explosive moments, and carefully controlled and contemplative in its moments of peace and calm.

Over in Britian, the F-IRE collective have spawned a number of genuinely exciting acts, with Pete Wareham's Acoustic Ladyland and Seb Rochford's Polar Bear getting the lion share of attention. Rochford also appears behind the drum kit with the excellent Oriole, although he demonstrates a very different style of playing here from the righteous clatter that now predominates in Acoustic Ladyland's music - here he is supremely sensitive, playing largely with brushes, and really supporting the melodic ebb and flow of the music. The group are directed by guitarist Jonny Phillips, whose compositions are deeply melodic, and frequently inspired by music from other cultures, particularly those of South America and Africa. Phillips' acoustic rhythm playing is textural, but far from neutral, establishing unusual and esoteric moods over which his melodies can float and linger. The combination of Ingrid Laubrock's ebullient saxophone and the languid, delicate cello of Ben Davis is distinctive and unassumingly original. This music is delicate and has a real subtlety that amply rewards repeated listens. The title, 'Migration', is apt, suggesting a flow not just of peoples, but also of ideas, values, sounds and experiences between countries and cultures. Phillips succeeds not just in observing this shared experience, but in fully inhabiting it himself.

Joe Lovano remains one of the world's most astounding saxophonists, capable of powerful extended solos and carefully constructed melodic expression. The variety of his playing means he can handle sensitive ballads every bit as adroitly as he can hard swing. For his latest project, a collaboration with arranger Gunter Schuller, he has returned to one of the key texts in the jazz canon, Miles Davis' 'Birth Of The Cool' collection. The rearrangement of these pieces into a big band suite is an unqualified success, with some inventive reharmonising from Schuller, as well as a whole range of new structural intricacies. The rhythm section swings effortlessly when required, but also handles the through-composed elements of the music with real precision. This music is sandwiched between a series of original compositions from Lovano, all of which are directly inspired by giant and iconic figures in the music's history. What could easily have seemed a tediously reverential exercise is invigorated by the sheer range of inspiration Lovano draws from - there are actually very few players who could claim to be as much inspired by Albert Ayler as Sonny Rollins. The spirit of Ellington and Mingus are naturally strong presences too, but the whole set really succeeds in playfully remodelling some of jazz history's more established conventions.

There are many people more qualified than me to comment on the return of the king of rap Jay Z (but surely every one of his last five albums has seen him 'come out of retirement?'), but I'm going to add my views anyway. 'The Black Album' was clearly one of those pivotal records that it's next to impossible to improve on, but there's little doubt that 'Kingdom Come' would be considered a lazy offering even from a much lesser talent. It starts well enough, with 'Oh My God' and the title track in particular offering something hard hitting and compelling. The latter reworks the Rick James Superfreak sample to surprisingly heavy impact. After that, however, it quickly goes wrong. 'Show Me What You Got', although one of the better tracks, is a sprawling and disorientating mess, whilst the appearance of bland crooner John Legend on the uninspiringly titled 'Do U Wanna Ride?' gives a strong hint at the direction in which the album is headed. From here on, the beats are basic to the point of tedium, and the rapping mainly consists of boasts about the level of credit Jay Z can get. Who cares apart from Beyonce when she wants her 450th pair of heels? It's baffling that one of the more maverick and ambitious productions here comes from Chris Martin! Even The Neptunes are coasting with their dull contribution.

Two albums from singer-songwriters have caught my attention in recent months. 'Song Of The Blackbird' by William Elliott Whitmore is one of the country albums of the year (thanks to Lauren for the tip, albeit it a not entirely unbiased one), and Whitmore's voice is absolutely superb. It's gravelly and gutsy like a soul man overdosing on bourbon, but by accompaning himself usually only with the starkest of settings, he nimbly avoids the pitfalls of cliche. There's a sincere and emotive quality of the music, and the experiences related seem believable, even when they adhere rigidly to American folk traditions ('Lee County Flood'). It's possibly at its best when Whitmore makes use of the banjo, which when used alone, is surprisingly dramatic. Like the excellent Benoit Pioulard album, this should be benefiting from some word of mouth buzz.

The other is 'People Gonna Talk', a very traditionalist, perhaps even conservative record from British bluesman James Hunter, that it's really impossible not to embrace with open arms. We're very much in Van Morrison territory here, although mercifully not the flowery hippy drivel of Astral Weeks, more the jazz-meets-blues territory that Morrison has wandered, occasionally fruitfully, in more recent years. Yet, this album has everything you could want from this form of music - vocals that are crisp but understated, and some saxophone arrangements that don't crowd the music. It's mainly driven by a precision perfect rhythm section, that can incorporate elements of ska or reggae without ever sounding uncomfortable. Hunter's lyrics are simple, but frequently they resonate precisely because of this, and his melodies are warmly familiar, delivered in an unhurried and unshowy style. All the tracks have a similar feel, but it is all so lovingly and authentically rendered (it was all recorded at Toerag studios with former White Stripes and Holly Golightly engineer Liam Watson), and at just forty minutes, it certainly doesn't outstay it's welcome. With repeated listens, the subtle differences in tone become more readily apparent - 'Walk Away' has a gentle swing, whilst the more melancholy 'Mollena' betrays the influence of Sam Cooke. This is a charming, beautifully restrained record that harks back to a bygone era with swing and sophistication.

The Canadian supergroup Swan Lake, involving Dan Bejar of Destroyer and The New Pornographers, along with Spencer Krug from Wolf Parade, are responsible for one of the very strangest records of 2006. 'Beast Moans' seems to have some unfashionably progressive influences behind it, from the peculiar cover art featuring mythical creatures to the baffling lyrics that seem to speak of other worlds. The music favours mysterious droning and exotic atmospherics over rhythm or melody, and as such, it's all a bit difficult to get a grip on. It may well be outstanding, but I also can't help feeling that it's deliberately difficult, and something of an indulgence for the musicians involved. It sometimes sounds intriguing, but rarely makes any real sense. Destroyer's 'Your Blues' album is certainly a far more effective foray into peculiar territory, and it works primarily through being much less guitar-based.

I have no such doubts about the enchanting qualities of Trentemoller's outstanding 'Last Resort' though. This is one of the outstanding electronic albums of the year (albeit with the caveat that I haven't yet managed to hear recommended efforts from Booka Shade, Current 93 and James Holden), sublime and genuinely hypnotic without ever being boring. So much club music only sounds good in clubs, but this, although heavily reliant on the kind of relentless and pulsating rhythm tracks that occasionally tie dance music too closely to its own conventions, sounds intense and imaginative on a home stereo system. It has a peculiar mechanistic beauty, and it alternates between moments of stark clarity and moments of genuine warmth.

I've really run the gamut of genres with this one!

2006: The Year In Popular Song

My albums of the year list will follow shortly, but for starters, here are some thoughts on the tracks that shaped my year, for better or for worse. All my own opinions, not work related etc etc....

Two tracks proved completely inescapable this year - the big, heavily hyped download-only number one from Gnarls Barkley and 'Over and Over', the superb party anthem from Hot Chip. The latter has now been released three times, and plays virtually every time I go to a club or music venue. It was one of those tracks that, largely by virtue of being simple, insistent but also knowingly clever, captured a wave of energy and enthusiasm. Much as I love it, it's not my favourite track on 'The Warning' - that would have to go to the sly, soulful nod to 'Walk On By' that is 'Look After Me', one of the very finest things Alexis has written to date.

Morrissey's 'Ringleader Of The Tormentors' proved a somewhat flawed and frustrating album, but contained a handful of superb tracks, not least the wonderful collaboration with Ennio Morricone on 'Dear God Please Help Me'. Unfortunately, Moz elected not to even attempt to recreate this grandiose melodrama in live concerts, instead preferring to focus on the album's more generic, plodding moments. It's one of his very best studio performances though - a vocal rich in nuance and emotion. Whether or not it's about some hot Roman gay sex is another matter....

Talking of which, everyone's favourite gay Canadians The Hidden Cameras managed to set out their agenda in a more inclusive and compelling way on 'Hump From Bending', one of the most thoroughly joyful tracks of the year. Combining playful innuendo with some righteous liberalism (if such a thing is possible), this felt like a genuine outsider anthem. Some people seemed to find the album, and the recent shows promoting it, disappointing - who were these fools?!

A number of artists provided food for thought in 2006 by mixing pop and politics. The Roots found a sublime streak of social consciousness hip hop with 'Don't Feel Right', one of the best singles of their career so far - punchy, hard-hitting and aware. By delving back into the American folk canon, Bruce Springsteen sounded more invigorated and powerful than he had in years. Not included on the initial pressings of the Seeger Sessions album, his reinterpretation of Blind Alfred Reed's 'How Can A Poor Man Stand Such Times and Live?' addressed the political failings of the Bush administration over Hurricane Katrina with righteous clarity. Less successful were some other attempts to deal with the same issue from Jay Z and U2 and Green Day, the former unaccountably lame, the latter grotesquely pompous. Many were keen to praise Neil Young's 'Living With War' album for its directness and passion - but place it next to Steve Earle and it just sounds unforgivably clunky and ill-judged. It might not be reasonable to expect daring political statements from the Pet Shop Boys, but with 'Integral' and 'Indefinite Leave To Remain', the two most successful tracks on their inconsistent 'Fundamental' album, they delivered some persuasive arguments against much-parroted political maxims. The former used neat satire to undermine the popular notion that 'if you've got nothing to hide, you've got nothing to fear', accurately and convincingly attacking the petty Stalinism of New Labour. Of all this year's political statements, however, the most significant may well be Scott Walker's 'The Drift', an album of such uncompromising vision and insight that it is utterly terrifying. It doesn't make sense to isolate specific tracks, but 'Clara' was itself as complex and ambitious as an entire opera, dramatic and intense, brilliantly capturing the modern world's inexorable drift to the extremes of tyranny and violence. It's entirely a matter of interpretation, but I liked to picture the Mr. Tough of Yo La Tengo's magnificently infectious song as George W himself, being enticed onto the dancefloor to distract him from misguided policies at home and abroad. It's also been a matter of some interpretive debate as to whether Bob Dylan's 'Workingman's Blues No. 2' marks a return to the leftist concerns of his protest days. The whole argument over this is probably pointless - the song is more about comradeship and solidarity in work than it is about any political ideology. Along with the superb 'Nettie Moore', it's his best work so far this decade.

In the mainstream pop world, Girls Aloud triumphed once again with the outrageously camp, loveably lightweight 'Something Kinda Oooh', but then it all went tits-up with that terrible version of 'I Think We're Alone Now'. I still admire McFly's winning way with a pop melody, whether they actually write and play their songs or not. 'Please Please' really was a slice of postmodern pop genius, neatly throwing those tabloid rumours about Harry and Lindsay Lohan back in everyone's faces. OutKast returned with an overlong, laborious and mostly boring soundtrack album, but 'Morris Brown' and 'Idlewild Blue' were superb singles, demonstrating their intuitive musical wit and invention. The major surprise of the year was Amy Winehouse, about whom I must now admit that I was completely and utterly wrong - 'Rehab' is everything a pop single should be and more. Madonna continued to pull singles from the ludicrously overrated Confessions On A Dancefloor album, with increasingly diminishing returns, 'Jump' being one of the least compelling records of her entire career. Initially, I thought Justin Timberlake's 'SexyBack' was a tuneless dirge, but forced to listen to it repeatedly, I now appreciate it as more of a minimal masterpiece, adding a whole new dimension to Timbaland's multi-faceted production. With 'Maneater' and 'Promiscuous', Nelly Furtado finally admitted that she's no great singer, stopped pretending, and made two brilliant dancefloor stompers. Even better than all of these was 'Black Sweat', which saw Prince veer towards crunk, although nobody seemed to notice, perhaps because the rest of the album was a bit shit.

In the indie world, everyone went crazy over those Arctic Monkeys - I remain completely indifferent. As for The Kooks, 'She Moves In Her Own Way', with its mock-scouse vocals, is one of the most incompetent and annoying strummy guitar records in ages. How can such manifest lack of ambition reap such huge rewards? I also couldn't get away from The Automatic's one-trick-pony shouty nonsense pop (not something I ever wanted), or Snow Patrol's dreary earnestness on 'Chasing Cars', a record that just refuses to go away. Oh, and Primal Scream completely embarrassed themselves, amplifying all the shamelessly derivative, ugly dimensions of their music for 'Country Girl' and 'Dolls'. For those that looked a little further afield there were rich pickings, with some sharp social and political commentary from the ever endearing MJ Hibbett on 'The Gay Train' and 'The Fight For History', a brilliant apropriation of northern soul stylings from Camera Obscura on 'Lloyd, I'm Ready To Be Heartbroken' and 'Let's Get Out Of This Country' and perhaps the best reversion of that ubiquitous rhythm from 'You Can't Hurry Love' on 'Once and Never Again' by The Long Blondes. I wanted to despise the latter because of the hype, but their sharply observed songs actually have real merit. The Gossip were the unlikely crossover stars of the year, and it's gratifying that they did it all on their own terms, with two superb singles in 'Listen Up' and 'Standing In The Way Of Control'. The Pipettes had their detractors, but they are beginning to look more and more like killjoys as their girl pop continues to warm my heart. 'Pull Shapes' was a particular triumph. Meanwhile, the award for most inventive song titles surely went to Flipron, for gems like 'Mingers In Paradise' and 'The Flatpack Bride Of Possibilities'. Splendid!

Further into the outer limits, there were some genuine slices of avant-garde pop genius. 'The Mercury Craze' from Subtle, another configuration of the Anticon rappers, is unbelivably brilliant, completely audacious and enervating. Junior Boys produced an album that was roughly 60% outstanding and 40% soporific, but 'In The Morning' may be the electronic track of the year, brilliantly produced, brimming with invention and topped off with a sweetly handled melody. Matthew Herbert's 'Scale' was a more streamlined and accessible proposition than his more maverick work on 'Plat du Jour' and 'Goodbye Swingtime', but it at least had 'Moving Like A Train', an irresistably groovy confection. Psapp perfected their 'toytronica' sound on the thrilling 'Hi'.

There were some beautifully literate songs in 2006, from some of the most dependable artists of recent times. Lambchop's Kurt Wagner continues to drift towards more elusive territory, but his lyrics retain a uniquely poetic wisdom that simply can't be found anywhere else. 'Paperback Bible told of a swap shop style radio show with quiet grace and dignity. Will Oldham was yet again a ubiquitous songwriting figure, with perhaps his greatest triumph to date being 'His Hands', a truly masterful song written for soul legend Candi Staton, and probably the single best track I heard this year. Whilst this was an intense and serious track, Sparks again proved themselves masters of playful irony with 'Baby Can I Invade Your Country?'

2006 also served to remind us of the real value in interpretation. Cover versions remain unfairly derided, and the collaboration between Bonnie 'Prince' Billy and Tortoise, particularly on their stunning refashioning of Springsteen's 'Thunder Road' as an uncertain lament, demonstrated that there can be real artistry in cover songs. Even better perhaps, Susanna and The Magical Orchestra completely reinvented the mood of Kiss' 'Crazy Crazy Nights' to the extent that it became hard to see how it could ever have been a cock rock anthem. Susanna's subtle, tender reading turned it into something incomporably serious and moving, a celebration of the party spirit, but with the lingering knowledge that these great days of youth are slipping away from us.

2006 was also memorable for the return of some iconic figures. Scritti Politti's Green Gartside should have been a real pop star, but his stagefright always caused him problems. Back with a new album that shows him at the absolute peak of his songwriting abilities, and at last performing live again, he was surely a more deserving winner of the Mercury than the Arctic Monkeys (the real contest was between Scritti and Hot Chip). 'The Boom Boom Bap' is that rare beast - a song about music that actually works brilliantly. In fact, the sound of the final verse, where Green simply reads the tracklist to the first Public Enemy album, is one of the most strangely moving sounds of the year. Another artsist to make a serious bid for a comeback was Jarvis, and whilst I still feel his album is slightly underwhelming, his download only single 'C*nts Are Still Running The World' is the sound of a very wise, if noticeably bitter man. Line of the year may well be 'They say the cream always floats to the top - well, I say, shit floats!'. Spot on sir!

Still, whilst this is by no means a damning indictment of music in 2006, the song that touched me most this year was actually recorded back in 1986 - 'Estuary Bed' from the still woefully underrated Australian band The Triffids. This melancholy song, with a tragic romantic sweep, is harmonically very simple and understated, yet all the elements combine to staggering effect, and Evil Graham Lee's steel guitar adds a sense of grandeur. Domino's repackaging of The Triffids' back catalogue should continue apace in 2007, with the outstanding 'Calenture' album scheduled as the next release.

Digging Deep

When Tom Waits last released an album, 'Real Gone' in 2004, I commented that, for all its madcap cabaret and junkyard stomp, the most striking moment may have been the vulnerable anti-war ballad that concluded the proceedings. In light of this, I wondered whether it might not be more artistically interesting for Waits to backtrack a bit and release an entire album of sensitive ballads, rather than simply repeating his bizarre musical hybrids in slight variations. With one of the CDs in the 'Orphans' 3CD set, he appears to have fulfilled my wish. The second disc, 'Bawlers' is a collection of restrained, folk-tinged, and sensitive troubadour songs. It's also quite brilliant. Despite essentially being a ragbag odds-and-sods collection (one track 'Little Drop Of Poison' originally surfaced on the soundtrack to Wim Wenders' underrated movie 'The End of Violence' as far back as 1997), it coheres remarkably, and demonstrates Waits' adherance to traditional musical forms as well as his tendencies towards the theatrical. Many of the songs are in the same barfly jazz meets musical theatre style as 'The Briar and The Rose' from Waits' music for Robert Wilson's 'Black Rider'. There are some truly superb songs here, particularly the simple, direct and moving gospel song 'Down There By The Train', with its view of a compassionate, all-inclusive religion, so different from that so often propounded by evangelical spokespeople in the media. Waits originally wrote the track for Johnny Cash's first American Recordings album, but his own version is equally committed and convincing. 'Bend Down The Branches' and 'You Can Never Hold Back Spring' are concise and haunting, with Waits stretching the melodies to draw more emotion. Even better is 'The Fall Of Troy', a powerful tale of corrupted youth which shows Waits' continuing maturation as a lyricist, a development that also bears considerable fruit on the mysterious, allusive and poetic 'Widow's Grove'.

There's also a real element of the unexpected in the form of a number of covers and interpretations. There's a languid version of The Ramones' 'Danny Says' (one of two Ramones covers on the whole set) and a superbly bawdy take on Leadbelly's blues standard 'Goodnight Irene'. Absurdly, it all ends with a spectacularly cheesy take on Sinatra's 'Young At Heart', seemingly tapping into the same well that Bob Dylan has been mining in recent years for inspiration on tracks like 'Spirit On The Water' and 'When The Deal Goes Down'.

Of the other two discs, 'Brawlers' is arguably more predictable, the bulk of it seemingly constituting of out-takes from the 'Real Gone' sessions. Much of it is blisteringly entertaining, from the hilarious Elvis impersions that liberally pepper the opening 'Lie To Me' to what sounds like another classic Waitsian sea shanty singalong on the closing 'Rains On Me'. This is in the main the most humorous of the discs, and there's plenty of joy taken in wit, wonder and wordplay. The music is also scowling and primitive, with familiar clanking percussion and the highly syncopated, avant-garde guitar technique of the masterful Marc Ribot.

The most comment-worthy song may well be 'Road To Peace', which with its lengthy narrative lambasting all sides in the Israel-Palestine conflict, has been deemed Waits' most explicitly political song to date. It's not a million miles from Steve Earle's impassioned polemics on 'The Revolution Starts Now', but it certainly stops short of some of Earle's more daring statements. Whilst the lyrics might work as narrative, they feel slightly clunky and forced as poetry, and in the end the song probably isn't the major statement Waits wanted it to be.

Again, the reinterpretations are as significant as the originals, with a take on George Khoury and Philipe Batiste's 'Sea Of Love' which is awash with intriguing and atmospheric sound, as well as an inspired refashioning of the gospel standard 'Lord I've Been Changed'.

The final disc, entitled 'Bastards', is the most contrary and challenging of the three, indulging Waits' preference for peculiar readings, beat poetry and malevolent noise. It includes his excellent version of Daniel Johnston's 'King Kong', originally recorded for the Late Great Daniel Johnston tribute collection, and other highlights include some strange new settings for the vivid and energetic prose of beat writer Jack Kerouac. It's the hardest of the discs to listen to attentively, but it repays the effort with at least modest rewards.

'Orphans' essentially does exactly what it says on the tin - as a whole, it's no masterpiece, but rather a consistently fascinating illumination of Waits' multi-faceted writing. The vocal performances are rich in variety, and Waits' delivery veers from savage guttural howl to sensitive croon. The three disc division works remarkably well, and ensures that this project comes across as something different from simply being 'another Tom Waits album'. The design and packaging of the set is also a real marvel, including the famous last words of legends as diverse as Oscar Wilde, Charles II and Haydn, historical facts and figures, and a section on 'the miseries of the great', detailing the nasty ailments afflicting various people of some stature in history. It also comes with a 94-page book detailing personnel, recording and production details, and a complete set of lyrics. Real attention and care has gone into the presentation of this set, so much so that it may even justify the expense of purchase. It's satisfying that in a stale time in the music market, where certain other groups are settling for simply repackaging their back catalogue in overpriced and uninspired 'best-ofs', Waits has rewarded his followers with an intelligently sequenced, beautifully packaged collection. We should be thankful that these orphans have now found their home.

One of the real word of mouth successes of 2006 has been 'The Trials Of Van Occupanther' by Bella Union signings Midlake. The group have been compared favourably with the likes of Flaming Lips, Grandaddy and Mercury Rev, but I detect rather more of a classic rock inspiration behind many of these songs. There are fluent but conservative guitar solos strongly reminscent of Fleetwood Mac, and the emphasis on gently plodding pianos recall early Elton John (not necessarily a bad thing). The luxurious harmonies also hint at the Crosby, Stills and Nash textbook. Much like The Decemerists, Midlake occupy their own peculiar fantasy historical universe of bandits, young brides and kings, and the listener must immerse themselves in this world to appreciate this carefully constructed record in full. It's very gentle, and rich in melody. A handful of the songs (the opening 'Roscoe', 'Van Occupanther', 'We Gathered In Spring' and 'It Covers The Hillside') do linger in the mind effectively, but overall it might just be that little bit too pleasant.

Interesting that the makers of this blog's album of the year for 2005 have now signed a major deal with the V2 label. 'Last Chance Disco' was a sustained triumph for Acoustic Ladyland because, not only did it completely reinvent their own sound, it also merged the technical and expressive world of jazz with the primitive and immediate blast of punk without resorting to contradictory impulses. Following it would inevitably be difficult. 'Skinny Grin', written and recorded it would seem with real haste, has some very impressive moments, but is a far less consistent record than its predecessor. It's impossible to know whether it is the impulse of band or label that has pushed them further in the punk/indie direction, but there is now little trace of real improvisation or spontaneous creative thinking, aside from the frequent thrashing that occasionally veers on the thoughtless. The number of vocal tracks has increased substantially, with a concurrent increase in the number of punk cliches encroaching into the music. Pete Wareham is a composer of genuine ability, but it's unlikely he'll ever be recognised as a significant lyricist.

The instrumental tracks undoubtedly fare much better, with opener 'Road Of Bones' harnessing the elemental distorted fury of classic heavy metal, and 'Your Shame' even borrowing from the Led Zeppelin book of hardened blues licks (albeit handled by Tom Herbert on fuzz bass rather than a guitarist). Best of all is 'Salt Water', featuring a guest appearance from revered punk saxophonist James Chance and included here in a version remixed by Scott Walker. It stands out because of its relentless energy and dynamism, as well as for some full blast blowing from Wareham. As always, the dependably inventive drummer Sebastian Rochford (also leader of Polar Bear and drummer for the excellent Oriole and Fulborn Teversham, amongst many other projects - where does he find the time?) manages to create the high drama dynamics of rock without compromising the sensitivity and creative thinking inherent to jazz playing. That he never resorts to blind technical virtuosity provides further evidence of his musical intelligence.

This band can certainly groove with real fire and fury, and there's no doubting their understanding of both musical traditions they draw from. This time round, however, the 'shock of the new' has dissipated and whilst they integrated their influences effectively on 'Last Chance Disco' there's an increasing sense that they are becoming a band of musicians with jazz chops playing punk rock. It's not clear how long that can remain a diverting prospect.