Perhaps the best R&B singer you've never heard of, Bettye LaVette has been recording for 50 years. This is a covers album. She can definitely sing a pretty, soulful song (Neil Young's I'm Not The One). But she really blows me away when she sings a slow burner (like Bob Dylan's I'm Not The One or Crazy from Cee Lo Green and Dangermouse) or gets down and funky (Savoy Brown's I'm Tired, my favorite song on the album or Fair Enough).
The fourth proper studio release from the New York based four-piece. They hit the big time with 2009's critically acclaimed Vecatimest (reaching number 8 on Billboard's Top 200 chart.) This is supposed to be a more cerebral work, but frankly, I like this album more. My favorite song is Gun-Shy, which is a dead give away to my love of pop hooks. Sleeping Ute seems like something Genesis would have created if they'd been formed in the 21st century. Yet Again is a sweet pop song (and the harmonies remind me of America.) The strings on What's Wrong make the song seem as if it's drifting on a breeze. From start to finish I hear influences from Yes, Roxy Music and the Flaming Lips.
Dylan continues his exploration of America's musical history, including country (Soon After Midnight which could be a Willie Nelson song), blues (
Early Roman Kings, basically a remake of Muddy Waters' Mannish Boy) and early 70's rock (Pay In Blood). The one song that has me truly confused (do I like it or not?) is the nearly 15 minute long title track: Tempest, a folk ballad and perhaps the longest song ever performed without a chorus, tells the story of the Titanic with references to both history and the James Cameron movie ("Leo took his Sketch book"). Listen if you have time, once, just so you can say you did.
My only dilemma here is whether I love this album, or am completely blown away by it. It's definitely leaping onto my 2012 Top 10 list, somewhere near the middle. This is their seventh proper studio release (my second, after 2008's Carried to Dust). 
This is the sophomore release for The XX. Their eponymous debut, released in 2009 is also excellent. The band, formed in London in 2008 while the (then four) members were still in high school, cite influences including everything from The Cure and the Pixies to Rihanna. The music is pretty minimalist, allowing the vocals to leap way out front. Romy Madley Croft provides a sensuousness with her satiny voice, while Oliver Sim's smooth-as-malt-scotch baritone serves as a perfect counterpoint.
Remember the Talking Heads? I do. David Byrne lead the band, from their formation in 1975 in New York until they broke up in 1988. I loved David Byrne's quirky lyrics, outrageous costumes, unique voice and highly experimental music. This is his 9th solo album since 1981 and, perhaps regrettably, my first. Here he teams with St. Vincent (the stage name of Annie Erin Clark, it's also the name of the band she fronts), which makes calling it a solo album a little confusing.
Cat Power is the stage name of Chan (pronounced "Shawn") Marshall, born Charlyn Marie Marshall in Atlanta, Georgia on January 21, 1972. This is her first album since 2008's Jukebox (a terrific album of covers, from New York, New York to Hank Williams' Ramblin' Man, to Joni Mitchell's Blue) which was my introduction to her. This is her 7th album of original material and the first in 6 years.
Screaming into front-runner status, late in 2012 is the Super-Group, Divine Fits. And while I've never heard of of the drummer (Sam Brown, or his band, New Bomb Turks), I'm a big fan of Dan Boeckner (of the Handsome Furs and Wolf Parade) and Britt Daniels (the lead vocalist and guitarist for Spoon, who's Ga Ga Ga Ga Ga was my favorite album of 2007.)
The son of a steel worker, from Sheffield, England, Hawley began his solo career with a self-titled debut in 2001. This is his 7th proper studio release and the influences of lat '60s psychedelia are everywhere. He refers to the lush mix as "rocket sounds." 
(The album is not currently available on Spotify, so I've resorted to Youtube versions.)
I love this album from the five piece band from Noid, England (outside of Bath). This is their third studio album. They released their debut in 2007. It's not surprising I'd be enthusiastic., since Spotify lists their as their related artists some of my favorite bands on the past few years, including The Deadweather, The Kills, Cold War Kids, My Morning Jacket, TV On The Radio, Broken Bells, The Raconteurs and Band of Skulls.
Considering it's only the second album from the Los Angeles band they get a lot of press. At least 36 reviews from major media and arts rags! However, it's Ariel Pink's ninth overall, though, I must, somewhat sheepishly, admit I'd never heard of them till now.
Redd Kross, from Southern California, began in 1978 with a band called The Tourists, which was begun by brothers Jeff and Steve McDonald while they were still in middle school. With the addition of friends Greg Hetson and Dave Keller on guitar and John Stielow on drums, the band's first gig was opening for Black Flag. (Not a bad start.) 
Blood Red Shoes formed in late 2004, after Steven Ansell and Laura-Mary Carter's previous bands broke up. They explain the name as taken from a musical, in which Ginger Rogers had turned a pair of white dancing shoes red with blood due to the amount of practice she'd done for the role. This is their third studio album.
Handwritten is the New Jersey band's fourth album (my second by them) since 2007 and although it's impossible not to hear the Boss's influence, it's unfair to stop at that. It's also unfair for my younger readers to think of Springsteen as starting with Born In The USA. If you want to draw the comparisons, go back to The River or Greetings From Asbury Park, when Bruce could almost be classified as proto-punk.
The eponymous album is the duo's debut (sort of. They performed as Yellow Fever the previous four years, until they got sued because someone else already had rights to the name.) In any event they never got much notice beyond the local scene in Austin; which is no feint praise.
I've read comparisons of her songwriting to Simon and Garfunkel; of the related artists on Spotify, the only one I recognize is My Brightest Diamond (sort of an operatic chamber-pop); and she's considered a contemporary of the likes of Devandra Banhart (the king of Freak-Folk). When first contemplating her sound I was having a hard time characterizing it and, frankly, I didn't see the comparisons being made by the professionals. However, the more I listen to it, I realize that if you could actually put those elements into a blender, you really would get Jesca Hoop.
This is some really angry stuff. That said, the 4-piece, Welsh, noise-rock band's fifth album (in just 6 years) has some great moments. They remind me of early clash. In fact, the opener, Sheena Is A T-Shirt Salesman ( click to hear the full song), seems to be a sequel to the Clash's 1977 Sheena Is A Punk Rocker. I cannot recommend that you rush out and buy this album. Look it up and listen to it first. If you're in the right space for some angry, pounding punk rock, then this is the perfect answer.
The first is Bobby Womack, who probably isn't well known (except maybe by name) to most of my contemporaries; or me, for that matter. He will be 70 years old next March and he's been performing since 1953. (He met Sam Cooke at that first performance with his brothers; and was later recruited by Cooke, when he formed his own label in 1960/61.) He's toured behind James Brown and was an early inspiration to Jimi Hendrix. He wrote the song It's All Over Now, which the Rolling Stones made into their first Number 1 single in England. He Sang back up for Ray Charles and Aretha Franklin and a featured write for Wilson Pickett. In the late '60s he had his own R&B Chart hits with covers of California Dreamin' and I Left My Heart In San Francisco. He wrote Breezin' which became a huge hit for George Benson (and the title track for his best selling album.) In total, he's released more than 25 albums and contributed to countless more.
This album is of the same caliber as Made In The Dark. It's a little more experimental than either of those, but there's a combination of hooky pop songs and gorgeous ballads.
Metric had my number one release of 2009, and if you haven't heard Fantasies, all I can say is go and find it. So here we are, 3 years later and Metric has another amazing album. It leaped into the lead (so far) for my 2012 Album of the Year honors and it has a decent chance to stay there (though I hear No Doubt has an album coming this fall.
I don't know that I buy the "folk" part of the genre. I actually hear a lot of Kills-style punk-blues. In fact, like the Kills, this is a duo featuring a female lead vocalist (Laura Burhenn) and a male guitarist (Richard Swift) though they both also provide percussion and synthesizers.
I may be a little harder on them than the major critics, but I still think this is a great album.
This is my third album by the multi-cultural, British quintet in the past 4 years (it's their 7th album since '95) and, in that time, they've gone three completely different directions. The first album I picked up was Judy Sucks a Lemon For Breakfast in 2010, a 60s style pop album; last year's Cornershop And The Double O Groove Of was full-on Punjabi Pop/Dance; this is more of a mixed bag, some old fashioned AM pop, some dance and some Indian influenced world-style music.
I was tempted not to admit I have this, or that I'm keeping it. It's so mainstream compared to most of my 21st century collection. And the low rating? That's mostly the result of too many songs. The album is 15 songs and nearly an hour long. If he'd left off 4 songs (that are way too sappy for me) it could have made it into my top 10.
This is the sophomore LP for the duo from Kingston, Ontario, Canada.
The third, proper, full length studio album from the L.A. quartet, and their first since 2009. This is the first time they've captured my attention, though not the first time I've listened to them. It's a tremendous piece of work, though, oddly, in my opinion, the album. starts slow. The second half is far more exciting, with my favorite being the eighth track, Pit.
Sometimes I understand why a performer spends a lot of time worrying about external issues, like their name: typically, there isn't much real substance underneath it; or, occasionally, it can be they were cursed with a name that misrepresented what they were trying to do (e.g., Chaim Weitz, better know as Gene Simmons). But Pennsylvania-raised Santi White (her first album was released under the name Santogold; she had to change to Santigold when she was sued by professional wrestler Santo Gold) brings the goods. 
First, this was produced (in addition to co-written and performed) by Dangermouse, aka Brian Burton. Those that have followed by blog know my mantra: If Dangermouse is involved, buy it. This album only reinforces that for me.
Beginning in 1999, Jack White and (and his now ex-wife) Meg (guitar/vocals and drums, respectively) put out the first White Stripes album, by 2007 they had released 5 more albums and won two Grammies (for 2007's Icky Thump: Best Alternative Music Album and Best Rock Performance by a Duo or Group). While the White Stripes were still performing, Jack White joined the Raconteurs as a guitarist, which released two successful albums (in '06 and '08.) In 2008, Jack White met Allison Mosshart (of the Kills) when the Kills opened for the Raconteurs. They released two albums as the Dead Weather (in '09 and '10) with White on drums.
Folila (which means music in English) started as two albums of the same material. "Same songs, tunings, and tempos...with Yeah Yeah Yeahs guitarist Nick Zinner, Santigold, Theophilus London, members of TV on the Radio and Antibalas, the Scissor Sisters' Jake Shears, and Bertrand Cantat. The other was a Malian offering, cut in Bamako with master musicians, including Bassekou Kouyaté on ngoni, Zoumana Tereta on sokou, and Toumani Diabaté on kora, to name a few." They ended up blending it into a single release with the western and African instruments combined. The songs are sung in English, French and Bambara.
Guitarist/vocalist/songwriter, Paul Weller, released his first recording as the leader of the English band, the Jam in 1977. This is his eleventh studio Album since beginning his solo career in the early '90s. He still has some of that punk/new wave sound goin' on, but with a definite 21st century spin.
According to Spotify, the related artists range from Led Zepplin to Bjork, to Tom Waits, Pink Floyd and Yes. I don't get a clear sense of any one thing, so try to imagine all of these artists, tossed in a blender, and what comes out is the Mars Volta. I may be mistaken, but I also hear a little Tommy Shaw (from Styx) in the vocal.
This is another Damon Albarn project (Gorillas, The Good The Bad and the Queen, etc.) This time he's teamed with bassist Flea (from the Red Hot Chili Peppers) and drummer Tony Allen (from the Nigerian Fela Kuti's band). They also have a number of guests, including Erykah Badu, The Hypnotic Brass Ensemble (from Chicago) and a host of African hip-hop artists (none of whom I know by name.)
It's been 5 years since the last Shins album, Port of Morrow. In the intervening years founding member, vocalist/guitarist James Mercer (and the only member from the original band on this album) has worked on a number of side projects, including my favorite album from 2010, Broken Bells with Dangermouse.
Because in every life, a little punk must be heard. 
This is a terrific album. While there’s nothing that grabs me like the title track from 2010’s Dear God, I Hate Myself, there’s a lot to love here.
A quartet featuring jazz pianist Robert Glasper, bassist Derrick Dodge, drummer Chris Dave and Casey Benjamin on sax and vocoder. The album is described by Angelika Beener, in her liner essay, as "representative of the veracity of Black music" which has been "...emulated, envied and countlessly re-imagined by the rest of the world...." It melds jazz, hip-hop, adult contemporary R&B, neo-soul, even rock into a journey of sorts. With covers that include Erykah Badu on Afro Blue (made popular by John Coltrane) Lalah Hathway on Sade's Cherish the Day and a very interesting take on Nirvana's Smells Like Teen Spirit (this is cool live take) and some very nice original material, like Move Love.
Nneka's father is Nigerian (she was born in Nigeria) and her mother German (she currently lives in Germany); she sings , mostly, in English with strong influences from R&B, reggae and hip-hop.
Okay, so it's it's a style more than a genre. But I couldn't resist when I discovered it as a description of Grimes (the alias of Vancouver native Claire Boucher.) It's also a pretty apt description of the slightly haunting, intense, electronic dance music, accompanied by a wispy vocal track.
Starting off as a Side Project for Okervill River's Will Sheff, Shearwater's been around since 2000 and this is their seventh album, but it's my introduction to them.. It's a solid record with a lot to love. I'll be interested to see if it has staying power for me. The opener Animal Life (click the link for the official video) is great folk/pop/rock. You As You Were (again, click the link for the official video).
Howlin' Rain is unapologetically steeped in '70s, blues based, hard rock. There're hints of Aerosmith, Deep Purple, Uriah Heep, Grand Funk and Steely Dan; with smokin' guitar solos and pounding drums. The quintet, fronted by Ethan Miller (from Santa Cruz, CA) debuted in 2006. This is their second line up and third album, produced by Rick Rubin
With elements of blues, hard rock, garage, punk and country, the Heartless Bastards, currently a quartet (they've been through several line-ups, but always ) lead by guitarist/singer Erika Wennerstrom. Originally from Dayton, Ohio, they were "discovered" by Pat Carney of the Black Keys, and are currently headquartered out of Austin Texas. Which is where they met Jim Eno, percussionist for another of my favorite bands, Spoon, who produced the album. (Music is a small world...)
It's not surprising I really like this English trio. They're compared to the Kills, Duke Spirit, the Black Keys and even the White Stripes. Two of those had albums in my top 10 for 2011. (I'm gonna to have to look into Duke Spirit, of whom I've never heard.)
Mark Lannegan came of age with Screaming Trees, out of Seattle, in the mid '80s and began his solo career in 1990. This is his seventh solo album and the first in 8 years (and the first for me.) 