Scott B. Bomar's 20 Favorite Albums of 2006

Following are my top 20 favorite albums of 2006, each accompanied by a brief description / review.



1. Bob Dylan - Modern Times
Modern Times is the third in a string of critically acclaimed albums by the still-relevant 65 year old musical icon. This fantastic disc is a highly accessible blend of influences, making for an organic brew of rootsy, brooding selections that are uniquely American and uniquely Dylan. Drawing from folk, country, western swing and blues, the excellent band is as important to the raw immediacy of Dylan’s 32nd studio album as the master himself. Several of the tracks ramble on a little too long, but the highly literate tunes – sometimes sweet, sometimes rollicking – all feel great. Through his many years and phases in music, Dylan’s passion is undiminished. His melodies continue to become more interesting, and he sounds like he’s having a great time. This may very well be one of the best albums of Bob Dylan’s career.



2. James Hunter - People Gonna Talk
I saw James Hunter live last year and was blown away by the British blue-eyed soul powerhouse. Effortlessly channeling Sam Cooke, Van Morrison, Ray Charles, and Ben E. King, Hunter incorporates classic R&B, blues, funk and ska into a warm and instantly appealing retro vibe. The simple arrangements, including fantastic horn accents, are impossibly tasteful, and Hunter never misses with his uber-cool delivery. If you’re looking for innovation, you won’t find it here. Hunter moves down a well-traveled road of classic soul sounds, but he does it extraordinarily well. If this record doesn’t make you want to get up and dance you have a serious problem.

3. Solomon Burke - Nashville
On his early Atlantic Records singles of the 1960’s Solomon Burke introduced a country influence into black soul music that made him an important, if not always commercially successful, pioneer. His imposing vocal presence is put to excellent use on Nashville, a collection of classic and contemporary country songs reframed as gritty, organic gospel-soaked R&B. Under the supervision of the always-amazing guitarist / singer / writer / producer Buddy Miller, Burke’s resonant world-weary voice brings new life to the tunes of some of the best country songwriters (Dolly Parton, Tom T. Hall, Don Williams, etc.). Miller pairs Burke with several unlikely duet partners in Patty Griffin, Emmylou Harris, Gillian Welch, and Patty Loveless. Somehow, it all comes together as an instant country soul classic.



4. The Little Willies – The Little Willies
The Little Willies are less a band than a loose collection of friends who have separate music careers, but wanted a side project just for the fun of it. They also have the distinction of being the only performers under the age of 40 to appear in my top 5 this year (I must be getting old). Richard Julian, Lee Alexander, Dan Rieser, Jim Campilongo, and Norah Jones originally came together to do a one-off gig of Willie Nelson covers (hence the band name), but ultimately put together this loose, laid back song set for no other reason than that they wanted to. As Julian and Jones trade lead vocals on songs by Nelson, Hank Williams, Bob Wills, Kris Kristofferson and others, it’s obvious they’re having a great time. It’s cool that the biggest selling female artist of the decade would un-self-consciously exult in publicly indulging one of her musical passion so that the rest of us can enjoy it with her. Ultimately, this labor of love is probably one of the better country albums of 2006, not because it’s ironic, introspective, or culturally significant - but because it’s a lot of fun.



5. Candi Staton - His Hands
I wasn't familiar with the classic southern soul of Candi Staton before stumbling on His Hands, her first secular record in nearly 25 years. Produced by Mark Nevers of Lambchop, this disc showcases Staton’s rich gospel-tinged voice as the treasure that it is. The 66 year old veteran’s raw emotion simmers just below the surface as she delivers her songs in a way that puts her in a class with vocal legends like Mavis Staples or Aretha Franklin. Her cover of the Merle Haggard / Red Simpson penned “You Don’t Have Far to Go” is easily my favorite song of 2006 and is the perfect lead track for this excellent set of Stax Records styled southern soul, blues, R&B, and country.



6. Corinne Bailey Rae – Corinne Bailey Rae
I first heard Corinne Bailey Rae on Saturday Night Live. I usually give the musical guests a verse and a chorus before I hit the fast forward button on TiVo, but I was captivated by the voice and presence of this British-born neo-soul songstress whose classy timelessness reminded me of Sade, Alicia Keys, and Bill Withers all rolled into one. Bailey Rae is a pretty twenty-something-year-old who, like Norah Jones, uses her immense talent (rather than skimpy outfits and clumsy sexual posturing) to sell her rich blend of 70s soul, jazz, pop, and hip hop. The layered production gives a contemporary snap to the soothing, uncomplicated lyrics and simple melodies that make this young multi-instrumentalist and songwriter a very likable new voice.



7. Willie Nelson - You Don’t Know Me: The Songs Of Cindy Walker
Country Music Hall of Famer Cindy Walker was one of the first successful female songwriters. She helped define Texas country music and western swing with a slew of notable compositions made famous by Bob Wills, Ernest Tubb and others. Willie’s heartfelt tribute to one of his songwriting heroes is notably soulful and inspired. I could be wrong, but it seems like the omnipresent Willie cranks out about 5 albums a year. Although I always like Willie, this one shines as one of his best in recent memory. The title track is one of the most gorgeous country standards of all time and he does it masterfully. There’s a certain spark in Willie’s voice that lets us know he really cares about paying tribute to “the Dean of Texas songwriting.” Walker died in March of 2006, so this fitting tribute was well timed.



8. Raul Malo – You’re Only Lonely
I’ve been a fan of the Orbison-inspired front man of retro country rockers The Mavericks for a long time. Malo’s smooth rangy voice seems to know no bounds. He has to be one of the best singers on the planet and, though I don’t often identify myself as a fan of “crooners,” his voice stops me dead in my tracks whenever I hear it. The stellar songs (J.D. Souther’s “You’re Only Lonely,” Etta James’ “At Last,” etc.) and lush arrangements are the perfect compliment to his effortless delivery. He manages to pull off the difficult task of sounding smooth and timelessly retro without ever coming across as self conscious or cheesy. This is the perfect Valentine’s Day disc - a romantic and intelligent album of make-out music for adults.



9. Sean Lennon – Friendly Fire
I haven’t followed Sean Lennon’s career closely, but I saw him in concert many years ago, opening for Lenny Kravitz, and wasn’t impressed. When my wife brought home this disc, however, I was blown away. I don’t know what happened in the last decade, but Lennon’s lush, sophisticated atmospherics channel the best of the Beatles, Byrds, and psychedelic pop. Sean Lennon is not afraid to embrace his famous father’s influence but his instrumental abilities and infectious melodies still stand on their own as a testament to his unique voice. This might have been my most pleasant unexpected surprise of 2006.



10. Gnarls Barkley – St. Elsewhere
Gnarls Barkley is the pairing of production wizard Danger Mouse and rapper Cee-Lo Green, whose soulful singing voice (what one critic called a “crazed Muddy Waters-meets-Al Jarreau tenor”) is the perfect companion to Danger Mouse’s frenzied, adventurous tracks. Cee-Lo’s vocal style is also eerily reminiscent of Terence Trent d’Arby, who I half-shamefully (but not really) admit is still one of my favorite singers. St. Elsewhere covers a lot of ground as it blends hip hop, rock, soul (and a little of anything else you can imagine) into a textured and sometimes strange sonic experiment. It’s a smart, complex, manic, and slightly weird aural excursion that pays distinct homage to the musical pioneers who came before. Not everything on this album is nearly as accessible as the runaway single “Crazy,” but it’s all a testament to the pleasure of creativity run rampant.



11. Bruce Springsteen - We Shall Overcome: The Seeger Sessions
The always-inspiring Springsteen blows the dust off contemporary perceptions of “folk music” as he re-imagines some of the staples of the traditional folk canon as rowdy unrefined rave ups. Full of rambunctious energy, this album is the most raw and immediate in The Boss’s catalog. Banjos, brass, and untempered percussion enliven the tracks, most of which were recorded live and usually within moments of Bruce teaching them to the band. The loose, rollicking mood of the sessions translates well to disc. In some ways this record is born from the same spirit that produced the Little Willies album in that it’s obvious Bruce is doing it simply because he wants to. It sounds like he’s having such a great time that he really doesn’t care what anyone else might think of it. Its lack of calculation and forethought, however, is precisely what makes it so great.



12. Mark Knopfler & Emmylou Harris - All The Roadrunning
Knopfler’s grumpy old man growl doesn’t seem to be a logical pairing with Harris’ soaring, transcendent vocal style, but somehow this album works. Lush and laid back, All the Roadrunning is a sonic treat from start to finish. Emmylou is as much a master of her vocal instrument as former Dire Straits front man Knopfler is on the guitar. His instrumental work is as effortlessly beautiful as Emmylou’s voice and, though this record occasionally slips into sleepiness, it’s always charming. There are no surprises or bold artistic risks here, but the album is solid, understated, and highly appealing for fans of what Knopfler and Harris do.



13. Irma Thomas – After the Rain
It’s impossible to evaluate “The Soul Queen of New Orleans'’” first effort in six years apart from the context of the aftermath of Hurricane Katrina. Though Thomas says most of the songs were chosen before the flood, the selections seem to appropriately reflect the emotional impact of the event, while offering repeated glimmers of hope for the future. Her transcendent voice is showcased against the stark, stripped-down gospel-influenced arrangements. If you’re a fan of the soulful stylings of the legendary Thomas you’ll love this excellent addition to her body of work.



14. T Bone Burnett - The True False Identity
Former guitarist in Bob Dylan’s Rolling Thunder Review, T. Bone Burnett is best known as the stellar producer behind classic albums by Elvis Costello, Roy Orbison, The Counting Crows, Gillian Welch, and the astoundingly successful O Brother Where Art Thou? soundtrack. Although a capable writer and singer, the real star of any Burnett album is the production sensibility. The True False Identity features his signature layered, yet crisp style as he navigates through an eclectic and adventurous set that draws from the rich tapestry of a variety of American musical styles. Sonically, Burnett is one of the best producers around, and this album certainly rises to the high quality standard that T Bone fans have come to expect.




15. Beck - The Information
Beck has always been a so-dorky-he’s-cool pop culture collector of all things ironic and funky. In that regard, The Information is classic Beck as it pulls together disparate scraps of musical layers – both organic and mechanic. Many of the musical themes of Beck’s previous (and sometimes wildly varied) efforts appear here on this experimental and fairly intricate album. Nevertheless, it’s engaging, accessible, and uniquely Beck. There’s no denying this guy’s off-the-wall talent.



16. Neko Case - Fox Confessor Brings The Flood
The latest release from Neko Case is yet another step away from the alt-country vibe that established her as a critical favorite. But her amazing voice, most often compared to Patsy Cline’s, remains the centerpiece of her music. Case’s lyrics are densely packed with evocative imagery that seems to weave naturally around the rich musical backdrops she effortlessly conjures. Her writing style is more about impression than narrative, which means you don’t always know what the songs are about. At the same time, you know exactly what they’re about. In the end, it doesn’t really matter much either way. It’s all about that voice.



17. The Dixie Chicks - Taking The Long Way
I’ve always liked the Dixie Chicks and I’ve always been a fan of producer Rick Rubin’s earthy approach (Tom Petty’s Wildflowers album, which Rubin worked on, is still one of my top 10 favorites of all time). Rubin infuses a classic rock sensibility to the Chicks’ most personal album to date. Though the lyrics are arguably preoccupied with the ridiculously overblown “controversy” regarding lead singer Natalie Maines’ off handed political comments of several years back, it’s still very solid. It’s the first time the Chicks have written their own album (with the help of heavy weight collaborators like Sheryl Crow, ‘Keb Mo’ and others), but the songs don’t all measure up to some of the tracks penned by the likes of Patty Griffin on previous records. It’s not nearly as good as their last disc, Home, but it’s a bold exploration of some new territory with a spunky attitude that finds the girls infusing a little hipster Beatlesque sensibility into their music. Definitely a worthy addition to the Chicks’ canon.



18. Justin Timberlake – FutureSex / LoveSounds
Yeah, yeah, he was in NSYNC, but Justin Timberlake has, in recent years, established a reputation that has virtually buried his boy-band persona to the point that I almost feel like I don’t need to apologize for liking him as much as I do. Justin Timberlake is talented. The layered production and almost painfully infectious melodies channel the 80’s groove of Michael Jackson and Prince while maintaining a crisp, contemporary edge. The self-consciously carnal Timberlake employs several producers, including Timbaland and the ever-present Rick Rubin, to guide the sound, but the tight retro-futuristic vibe is consistent. The lead single, “Sexyback,” is actually physically impossible to remove from the brain.



19. The Derailers - Soldiers Of Love
Soldiers of Love finds The Derailers exploring wider musical territory than they have previously, touching on rockabilly, classic rock, West Coast country, and jangly 1960’s guitar pop. Though not necessarily stylistically unified, it’s a wide-angle snapshot of where the band is in 2006. And it sounds like where they are is in-your-face and having a blast. Their classic sensibilities shine most brilliantly on the last two songs of the fourteen track lineup - “You’re Looking at the Man” and “It’s Never Too Late for a Party.” The addition of a rollicking piano player and the willingness to cast the net a little further than before make this a logical new step for the latest incarnation of a band that has lasted through changing times and changing personnel with their integrity firmly intact. Mighty fine.



20. Elvis Costello & Allen Toussaint - The River In Reverse
Rock n’ Roll Hall of Famer Allen Toussaint is a national treasure. As an arranger, producer, writer, pianist, and singer he was the primary architect of the New Orleans R&B sound. He produced records for Irma Thomas, Lee Dorsey and many others, arranged horns for the The Band and Paul Simon, produced “Lady Marmalade” and Dr. John’s “Right Place, Wrong Time,” wrote “Southern Nights” and “Working in the Coal Mine,” and has been a tireless behind-the-scenes presence in rock and soul for many years. After fleeing Katrina-ravaged New Orleans, Toussaint relocated to New York where he reconnected with Elvis Costello (with whom he’d worked previously). The combination of Toussaint’s horn section with Costello’s band produces a warm soulful texture, and it’s obvious that Elvis is a huge personal fan. In fact, sometimes Costello’s vocal performance (he sings all but one song) veers into “over eager” territory, but you can’t fault a guy for having musical heroes. With is emphasis on social justice, this is a funky collaboration that rises from the depths of New Orleans’ flood waters as a lasting testament to the importance of one man (and one city) in the development of R&B.