The National "Boxer" (2007)

While The Boxer's followup got the greater hype, IMHO this is the pinnacle of their sound.  Indeed it is one of the best albums of the decade.  And why does no one ever refer to The National as Dad Rock?

Samamidon "But This Chicken Proved False Hearted" (2007)

Interestingly enough, at this point the one word name indicates that this is a band, not a solo artist.  Even so, everything is more or less what he does.  Once again, the problem is that there's just not enough variety.  It's interesting for a song, but doesn't really sustain a whole record.

Delta Spirit "Ode to Sunshine" (2007)

Aren't these guys much more popular in the UK?  I think that I ended up with this album because reviewers so frequently reference the Americana/Alt Country influences and speak about Delta Spirit as if they were an up and coming twangy band. 
I suppose that those influences are there if you look hard enough, but really they're another indie rock band that I fail to hear what makes them special.

Malcolm Holcombe "Not Forgotten" (2007)

For some reason, I just can NOT spell this guy's name properly.  Arrgggg!

Oh well.  Holcombe seems to consistently record records of left of center country songs.  I can't determine if his breaking of structural rules is intentional or not.  And does it matter?  Regardless, I find that his insistence on moving away from the norms distances me from his songs.

The Hackensaw Boys "Look Out" (2007)

Imagine that Old Crow never wrote "Wagon Wheel".  There's no massive singalong hit.  Just a modern band playing music that is heavily influenced and indebted to string band music.  That's what you've got with The Hackensaw Boys.

Josh Ritter "The Historical Conquests of Josh Ritter" (2007)

By all rights, an album with a title so pretentious should not be any good.  It should be pompous and overwrought.  Somehow, this particular record is a lot of fun.  Great songwriting that is built upon, but not only in mimicry of, Boomer classics like Dylan et al.  Mr Ritter should be much more popular than he is.

Chris Knight "The Trailer Tapes" (2007)

While this did not get released until 2007, these songs were actually recorded as demos in the 90s. Fortunately, stripped down acoustic versions of country songs seem to sound timeless, so it's hard to tell exactly when Knight wrote or recorded this material.  Highly recommended for fans of Steve Earle & the like.

Cherryholmes "Cherryholmes II: Black and White" (2007)

Future musicologists exploring the connection between bluegrass and power metal are going to *love* this album cover.

Cherryholmes are one of the many bands to follow in the wake of Alison Krauss.  Slick production and soft, whispy vocals are the first thing that you notice over the technical perfectionism.  They developed quite a following before their breakup, but this sort of thing inevitably leaves me cold.

The Ruby Suns "Sea Lion" (2007)

With their upbeat poptimism and vague world music affectations, The Ruby Suns make me think of Haircut 100 2.0.  AND THAT'S OK.  There's a combination there that works, but for whatever reason it's not a sound that has ever been a dominant pop sound.  Unfortunately, The Ruby Suns just can't seem to get all these pieces together at the same time.  There's a lot going on, and it doesn't always work together.

Barbara Manning "Super Scissors" (2007)

This is a remastered reissue of Manning's long out of print early releases.  These recordings have an unmistakably 90s indie sound.  Take that for what it is, because "Super Scissors" exemplifies both the best & the worst of the time.

Orchestra Baobab "Made in Dakar" (2007)

Now this isn't something that happens very often.  Recorded 30+ years after their heyday, Orchestra Baobab rerecord some of their classic material, & it sounds great!

No really.

Normally  these type of projects are just sad.  The bands just don't have it any more.  But OB still are great.  Highly recommended.

The Felice Brothers "Tonight at the Arizona" (2007)

While these guys are often considered some sort of country band, in my mind they're clearly on the rock side of the divide.  That's not to say that there are traditional elements or influences in their music.  Yes, they are there.  But the playing and singing itself come from a sloppy indie rock place.  Imagine if the Band had started out playing 90s indie rock instead of rockabilly. 

Anyway, Tonight at the Arizona may be my favorite of their albums.  Mostly that's due to song selection.  While I haven't bothered to compare track lists, it feels like most of my favorite songs are here.

Mayra Andrade "Navega" (2007)

This is an absolutely beautiful album from this Cape Verdean singer.  Think a more energized Cesaria Evora.  There's a wonderful cosmopolitan summery feeling throughout.  It's like listening to Brazilian music in the shade on a hot summer day.  Apparently this was quite successful in Europe, but mostly overlooked in the States.

Okkervil River "Golden Opportunities" (2007)

A free mixtape chocked full of covers!  What could be more delightful?  Okkervil have a stripped down sound here, with the occasional horn section adding color.  The overall effect is a mixture of The Decembrists and Calexico.  Highly recommended.

The Avett Brothers "Emotionalism" (2007)

This is a seminal album in a movement that has yet to be named, and has yet to play out.  The Avett Brothers, Mumford & Sons, The Decemberists are all playing indie rock with instrumentation most commonly used in folk music.  Often they are referred to as folk artists, but don't be fooled.  The music itself is contemporary indie rock. 

At times the Avetts come a bit too close to wallowing in emo handwringing.  While this sort of sentimentality probably accounts for at least some of their popularity, to my ears it's a distraction.  I would hope that as they mature, the emotional palate of their music will expand.

The Hot 8 Brass Band "Rock With The Hot 8 Brass Band" (2007)

The Hot 8 are one of the young generations of New Orleans Brass Bands.  As such, this album seamlessly blends jazz, hip hop, R&B, & gospel into an exciting melange unique to New Orleans.  There's a simple, documentary style production involved, which allows for the party atmosphere from a live performance to come through.  It's 71 minutes of a hot greasy funky party.  It's not the same as seeing a Brass Band live, but it comes as close as I've heard.

Two Man Gentlemen Band "Heavy Petting" (2007)

I have a certain guilty weakness for wacky double entendre songs... so I like this quite a bit.  The hokum material forms the backbone of this album, with a few other jazz age songs thrown in for good measure.

Rosie Thomas "These Friends of Mine" (2007)

This is an underapreciated indie folk gem.  A quiet, intimate album of songs about friendship & love.  Sufjan Stevens sits in on several tracks, & seemingly was contributed to the arrangement of some others.  Quite charming.

The Gaslight Anthem "Sink or Swim" (2007)

In 2007 the Gaslight Anthem seemed to leap out fullblown on their first album.  Their mix of Springsteen by way of the Clash & Social Distortion primed for the 21st century.  Frequently compared to The Hold Steady, TGA share their sincerity & their seeming belief in the power of rock to liberate.  "Sink or Swim" isn't quite as complete as their followup album, but it's still a powerful statement. 

Gill Landry "The Ballad of Lawless Soirez" (2007)

Once upon a time, there were idiosyncratic songwriters who were nominally grouped as "rock", even though the music itself didn't seem to derive from any part of the Beatles/Stones/Dylan axis.  I'm talking about people like Randy Newman, Tom Waits, Billy Joel (this is before the 80s hits).

Despite the Old Crow Medicine Show affiliation, Landry's music has more in common with the people above than with Old Crow.  Low lifes in dangerous places, heartbroken & alone. 

This is a good record, but not a great one.  Landry is one to watch.... hopefully the great one will come down the road.