#450 - Tigerlily, Natalie Merchant

"Tigerlily, Natalie Merchant's first solo record, does sound different than 10,000 Maniacs. Instead of relying strictly on jangly folk-rock, Merchant continues opening her music up as she did on Our Time in Eden, her last album with the Maniacs. From the understated groove of "Carnival" to the rolling "San Andreas Fault," the added emphasis on rhythmic texture works, creating an intimate but not exclusive atmosphere that holds throughout the record." (allmusic guide)

#449 - Alive On Arrival, Steve Forbert

"Alive on Arrival is an album full of earnest tunes about loneliness, self-worth, aspirations, and disappointments. Forbert's wispy, innocent sounding voice floats gently (and cuts roughly) over his acoustic guitar to homespun ditties with a down-to-earth feel. This album represents Forbert's music perfectly, and even though his latter albums sound less subtle, it is Alive on Arrival that so aptly personifies him." (allmusic guide)

#448 - Transatlanticism, Death Cab For Cutie

"The Pacific Northwest group's first release since 2001's The Photo Album and singer Ben Gibbard's success with the Postal Service sees Death Cab in excellent form. Like Built To Spill without the guitar worship, DCFC create precise, romantic and melodic indie-pop. Try "Title & Registration." (real music guide)

#447 - Aladdin Sane, David Bowie

"Bowie's follow up to Ziggy Stardust casts a warped Glam Rock net over 1970s America. Simultaneously theatrical and experimental, this album contains such key tracks as "The Jean Genie," "Panic in Detroit," and "Drive-In Saturday."" (real music guide)