Produced by the band and Dave Fridmann of the Flaming Lips, MGMT, like the Lips, tackle any-era psychedelia. But they go on to fuse this focus with beautifully sweeping stabs at 60s and 70s rock monsters (Fleetwood Mac, Bee Gees, and T. Rex are three that pop into your mind while listening), along with lyrics that convey a child-like wonder or naivete about whatever their subject matter is. The result is the most charming debut of 2008.

Fleet Foxes debut puts their old-English vocal harmonies front and center, creating one of the first "medieaval rock" records of the new millennium. All this from a group of guys from Seattle-how does this type of stuff happen?

In Rainbows combines all the elements that make Radiohead great-anthemic sweep, avant gropings, hook-filled tunes, and sheer inventiveness. One of the few "career" bands still in existence, and still going strong.

This two-disc collection of songs broadcast on Dylan's satellite radio program encompasses the history of American music, showing the linkages between modern rock, jazz, folk, blues, world, and anything else that ever got played on the radio. Stunningly diverse, yet the entirety of the two discs flows smoothly from beginning to end. One of the most enjoyable history lessons you will ever encounter.

The side project of Comets On Fire's Ethan Miller, this disc pays homage to the seventies sounds of Traffic and Eric Clapton circa Derek and the Dominoes. Miller's raspy blues-flecked voice is perfect for the material.

Another Seattle-based band with vocals at the forefront, but this time the reference points are groups like The Band and Crosby Stills, Nash & Young. Some times they rock out, other times they deliver the blues, and at still others they give way to old-time gospel fervor, but at all times their ragged-but-right approach goes down like listening to good ol' music on your front porch.

Arctic Monkey's Alex Turner heads up this project. Like a modern-day version of the soundtrack music that accompanied 60's action-adventure films (think James Bond and Morricone), the majestic orchestral sweeps and rousing choruses are all present and accounted for, but all songs are set to brisk tempos, avoiding the lugubrious balladry that often accompanies such an approach.

The jazz equivalent of finding a box of unseen full-length concerts from the 60s by the Beatles, Stones, James Brown, etc., the Jazz Icon series showcases the greatest jazz performers of the 50s and 60s (Miles Davis excepted) in their prime performing full-length sets for European TV. The Oscar Peterson and Nina Simone discs are especially compelling, but seeing Lionel Hampton switch from vibes to piano to drums to the dancefloor also gives a flavor of what's in store for you here. Flawless sound and great camerawork demonstrate the European's love for jazz, as does the fact that they preserved the tapes of these show (something the US television powers-that-be rarely bothered with).

The most unexpected musical pairing of the year (decade?) finds bluegrasser Krauss and "Zepelliner" Plant demonstrating that music is music regardless of the genre. Their voices blend so well that you miss the combination when one takes a solo turn. Ranging from Page/Plant numbers to folk to old-time pop, this disc reminds you why vocalists always get the attention in a band. Simply sublime.

Sounding like no one else, TV On The Radio's third album added sophisticated rhythmic dancefloor beats and superior lyrics to their already heady mix of Dave Sitek's guitar washes and Tunde Adebimpe's (and Kyp Malone's) original vocalizing to conjure up an indie-rock stunner. No weak tracks here, just strength upon strength.