If we were picking the best albums

Less-than mainstream
“When I Woke,” Rusted Root: I stumbled across this album while browsing in a record store and became interested when I read the sticker, which said “File under primal, aggressive, body-moving acoustic music.” This describes Rusted Root perfectly, who are a little like Dave Matthews, only more ... hippy? “Send Me On My Way” was their hit, I guess, but there are several interesting songs. If you get a chance to see them live, go! — Bob Harkins

“Diary,” Sunny Day Real Estate: This is it. It’s hard to recall an album that so sincerely expresses the emotion of putting words to music. “Diary,” Sunny Day Real Estate’s first installment in its four-album series, appeared during the Sub Pop explosion of the early ‘90s, winning over metal junkies and would-be emo-rock kids alike. Lead singer Jeremy Enigk’s impressive vocal arrangements and flair for unleashing the unexpected make this CD one of the most influential of its time. From songs like the radio-friendly “Seven” to the eerily beautiful “Pheurto Skeurto,” this disc packs a three-two punch that will leave you breathless. Want to know how emo got its name? Take a listen. — Paul Olund

“Fear of Fours,” Lamb: This British duo’s uptempo mix of trip-hop and torch songs seemed to take the best of British electronica and push it. “Bonfire” added a dose of soul atop the depressive minor-key textures that made Portishead famous. “Little Things” offered all the energy of the Chemical Brothers without the club-boy glibness. With Louise Rhodes' vocals managing to be simultaneously velvety and raw, “Fours” proved just how much long-term talent Lamb had to offer. — Jon Bonné

“Ultraglide in Black,” The Dirtbombs: The White Stripes may grab all the Detroit glory, but there is no bigger rock star in Motown (or Planet Earth, for that matter) than Mick Collins. The Dirtbombs were primarily a 7-inch side project for Collins until his fulltime band, ‘80s garage punk innovators, the Gories, broke up. The sonic opposite of the Gories’ stripped down two-guitars-plus-drums sound, the Dirtbombs blast the speakers with two bass players, two drummers, and axe master Collins on guitar and vocals. Given the low-end overload, the Dirtbombs second full-length release, “Ultraglide in Black” is an ecstatically sophisticated homage to R&B artists Curtis Mayfield, Marvin Gaye, Stevie Wonder, Sly & the Family Stone, and Smokey Robinson & the Miracles, not to mention Irish rocker Phil Lynott. “Ultraglide in Black’s” reverence to the masters is a big part of the Detroit music scene, but Collins rips these songs like he owns ‘em. — Helen A.S. Popkin

“Tindersticks [II],” Tindersticks: Britain’s Tindersticks has to be the best band that most people in America have still don’t know about. It may take a couple of songs to get used to the marble-mouthed stylings of singer Stuart Staples, but deciphering his lyrics through repeated listenings proves to be a worthwhile, if slightly scary, endeavor. Their heavily layered, dark and romantic chamber/lounge style, perfected on “Tindersticks [II],” doesn’t fit snuggly into any category, but it’s safe to say that fans of Nick Cave, Tom Waits and other purveyors of the moodiest of mood music would find this album hard to resist. — Ree Hines

“Fantastic Planet,” Failure: Ken Andrews mastered the art of mixing-and-matching electronica and rock ‘n roll on Failure’s “Fantastic Planet,” the critically acclaimed 1996 release from the production master who now twists knobs behind the scenes for notable indie acts across the country. Andrew’s magic fingers and classic howl march perfectly in line through this 17 track experimental masterpiece that is brooding, thoughtful and beautiful all at once. While later efforts never matched up to “Fantastic Planet,” remembering the moment in time when writing music meant baring one’s soul, is enough for me. — Paul Olund

“Gravelled & Green,” The Actual Tigers: It’s their first, and unfortunately, only album. The Actual Tigers are sort of a folk-rock-pop band with a tendency toward the melancholy. I’ve most-often heard them compared to Paul Simon, and I think there’s something to that. Regardless, this album is full of catchy tunes accompanied by thoughtful, smart lyrics.  — Bob Harkins

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