6. Frank Turner – England Keep My Bones
(Xtra Mile)

This, and the next 5, all swapped and changed for number one. As I re-listen to this album to write this, I just feel like this is a perfect record by an artist at the very top of his game. I started my year watching him at the Annandale. He’s finishing it playing Wembley Arena. That’s quite a year Frank Turner has had.

It’s part Clash, parts Bragg, but all brought up to date. He is the only musician today who has anything interesting to say about the themes of punk (ok, maybe Craig Finn) – but he long ago left the shackles of punk behind. This record is his most eclectic – mixing up folk, gospel, power pop and more.

Line after amazing line, idea after amazing idea. The straight-to-the-point-ness of ‘I Still Believe’ contrasts ‘Glory Hallelujah’, a gospel song celebrating the lack of God. It’s all about believing in the right things.

The other big thread in this album is England. The idea of home, and writing about England, is all over this record. “Wessex Boy”, the a capella “English Curse” and “Rivers” do for England what Springsteen did for Jersey. “If I Stray” seems to sum up both halfs of the record quite nicely.

7. Gillian Welch – Harrow & Harvest
(Acony)

8 years? For this? That’s almost a year a song. It probably says more about how amazing their sounds and songs are that in 8 years away, they are still the top of their game, despite many duos popping up and trying to fill the gap. It helps that they always sounded out of time.

It really is business as usual. Even the nice left turn of drums found on 2003’s ‘Soul Journey’ has gone. Rawlings is still one the best guitarists of his generation. The songs are dark and spooky. Their voices still sound great.

So yeah – more of the same, but that same is still pretty special. “Dark Turn Of Mind” is a highlight. ‘Hard Times’ is perhaps the sweetest thing they’ve ever done. Let’s hope it doesn’t take another 8 years for more.

8. Leader Cheetah – Lotus Skies
(Spunk)

Only one Australian album made my top ten this year. Probably my fault – I wasn’t really paying attention. (And I don’t put mate’s records on these lists, so that discounts a couple….) And amazingly – it’s from Adelaide!

They fit quite clearly in the world that My Morning Jacket, Wilco, Beachwood Sparks and the more experimental rootsy stuff lives. A long, lonesome voice out front recalls Neil Young. But this is far from retro postering. The record is amazingly modern.

And it’s epic. Huge guitars. Big choruses. Clever arrangements. All tied down by that slide guitar. I don’t know why everyone makes a fuss over bands like Boy & Bear, who sound like wannabes, when we have great original country indie rock right here. Oh well.

One of my faves – “Our Lives”

9. Arctic Monkeys – Suck It And See
(Domino)

I just like this band. According to Last.fm, out of all the albums from 2011, I’ve listened to this one the most. So they’ve lost none of the magic for me, although I am aware that people have kind of written them off.

In parts it’s almost fun. It’s pretty much the most pop the Arctic Monkeys have ever been. There’s nothing to prove now, and they are just kicking out tunes that interest them.

The first five tracks are just back to back radio hits (in another world). I’m guessing Turner just craps out 3 minute rockers this good all the time. Clever riffs, great lyrics – it’s all there, and never boring. As usual, there are a couple of pretty ballads on here – Piledriver Waltz is the best amongst them.

It might not have the highs of a ‘Crying Lightning’ or something as straightly gorgeous as ‘Cornerstone’, but it’s a sharp consistent record throughout.

10. Paul Simon – So Beautiful Or So What
(Decca)

Every year a really old guy seems to sneak into my top 10. The Dylans and Youngs and the like. 5 years ago it was Simon again – with his fantastic, Eno-produced, ‘Surprise’. That 2006 album was a lively return from his worst record to date (2000’s ‘You’re the One’), and that reinvention continues. Interesting sonics, electric instruments, but a return to songs over rhythm.

On ‘Surprise’, Simon made a concious decision to abandon love songs (no one wants to hear about an old guy having sex, he said), and write about bigger things. God has returned to his song writing in a big way. Big meaning-of-life songs that recall ‘America’, or ‘Sound Of Silence’.

The best song of the lot, the one that has been getting quite a bit of attention, is “Questions For the Angels”. Just a beautifully plucked guitar, and the amazing image of a pilgrim walking over the Brooklyn bridge, and pondering at Jay-Z on a billboard.

At times funny, at times beautiful, we now have a roadmap for the fourth phase of Simon’s career, and the return of a great songwriter.