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15×15 lists: ABOUT | MUSE | SINGER-SONGWRITER | GUILTY PLEASURES | RADIOHEAD | BEST SONGS PT 1 | PT 2 | PT 3

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It’s a bad sign for a best-of-genre list when its writer has to look up what the genre actually is. “Singer-songwriter” is one of the crappier genre names out there, since there are tons of bands whose singers write the bands’ songs, but wouldn’t be considered singer-songwriters. Was Kurt Cobain a singer-songwriter? Bono? Jack White? Billy Corgan? Maybe, but I sure don’t think of them that way. But is Bob Dylan? Heck yes. Joni Mitchell? Uh-huh. Elliott Smith? Sure. Dave Matthews? I think so.

My point is, this list is a compilation of songs that don’t really have any one thing in common, but nonetheless occupy the same area in the genre playground in my head. Most, but not all, are solo musicians who have bands backing them up; most play acoustic guitar or piano; and most I could picture singing at a coffee shop open mic. I still wince at that “definition” though, so I’m just gonna get on with the list.

It must start with Elliott Smith. The great Elliott Smith. What a talent the world lost when Elliott Smith died. He qualifies for this list, since he made a couple of albums (including one posthumously released) in the Naughties. My favorite track he wrote after Y2K is “Somebody that I Used to Know.” It’s a beautiful little tune, seeming so soft and delicate at first, but it’s actually a scathing break-up song about cutting ties. Being a wannabe guitar player, I especially appreciate the tricky little guitar part that he pulls off with that silky style that, along with his gritty emotionalism, always made Smith so mesmerizing to me.

The next two tracks are also by artists well-established before the Naughties: Nick Cave and Fiona Apple. Both known for their deep, thoughtful lyrics, their 21st Century contributions did not disappoint. (I guess Fiona disappointed by only releasing one album.) Both “And No More Shall We Part” and “Parting Gift” feature intensely brooding, melancholy vocals over somber piano.

Beck certainly isn’t the first name that comes to mind when I think of singer-songwriters. His 90s records mixed hip-hop, folk, funk, and rock, and some of his 00s stuff does too. But apparently someone broke Beck’s heart in the early Aughts, and he came out with Sea Change, a somber acoustic meditation on heartbreak.  ”Lost Cause” is actually one of the livelier tracks on the album, believe it or not, and it’s my favorite Naughties Beck song.

Ray LaMontagne is an artist I know next to nothing about, except that he’s a white dude with soul and a knack for making acoustic-folk gems like “Trouble.”

Jack Johnson, John Mayer, and David Gray all started off the decade pretty promisingly, and their fans would say they only grew from there. But I’m not a fan. I didn’t like where they went, or I got bored, or something. But these three tracks, “Bubbletoes,” “Neon,” and “Babylon” represent the promise of an acoustic renaissance that never really came about (or at least not from them).

The Mountain Goats, a band that is basically a vehicle/pseudonym for John Darnielle, epitomize singer-songwriter-ing to me. Darnielle has been prolific over the past two decades, churning out 17 full-length albums and a slew of singles and EPs too. He is the consummate story-teller (via song anyway) of the Naughties. His songs don’t have much to them except a simple chord pattern, whirring lo-fi tape-deck noise, and a fascinating two-minute tale that makes one wonder how one man could have so many experiences.

Moving on, we have the late-decade acoustic champions, starting with M. Ward, who made one of the best albums of 2009 in Hold Time. He’s a man of definite song-writing skill, and the production on Hold Time pushes him over the top as an artist on the highest tier of acoustic-indie-dom.

Regina Spektor is an extraordinary talent as a pianist, singer, songwriter, and all-around charming gal. She’s not afraid to make you a little uncomfortable with some dolphin noises thrown into her songs either. She’s out there, in a really good way. “Samson” isn’t the best example of her out-there-ness, but it is a beautiful, heartbreaking ballad that has made my eyes moisten on more than one occasion.

Bright Eyes, vehicle for Conor Oberst, has drawn comparisons to Bob Dylan, so you know he was gonna make this list. I’m not the hugest fan of his, but “Lua” gives me chills, it’s so good.

Andrew Bird deserves a whole article about himself, as he’s just an incredible specimen of human. On top of writing densely layered masterpieces of indie-folk, he’s a virtuoso violinist, accomplished vocalist, has a vocabulary that would probably qualify him to write SAT Verbal sections, and oh yeah, he’s one of the best whistlers in history (just a guess). If you ever have a chance to see him, do it. Also, check out his stunning Noble Beast, another contender for best album of 2009. “Anonanimal” is just one of the maaaaany top-notch songs on the record.

Iron & Wine and Bon Iver round out the list as two of the more promising acoustic singer-songwriters going forward into the Teens. They both have unmistakable sounds despite not being much more than a man and a guitar.

So there you have it: two lists down, 13 to go.