I cringed when I was asked to put together a list of my 10 favorite albums from the past decade. My shortlist had nearly four times that many. How could I possibly narrow it down? So instead of going through that torturous weeding out process, I decided to compile a list of ten records that I feel didn't get the attention they deserved. There are many more that could have graced this page, but I had to draw the line somewhere. So dive into these 10 albums from the last 10 years that you should own, but probably don't.

Nicolai Dunger, "Soul Rush" (Lakeshore Records, 2001)

Adobe Flash Required for flash player. "Dr. Zhivago's Train"

I vividly remember the first time I heard Nicolai Dunger. I was in my car circling the 10-block radius surrounding my apartment on West 72nd in Manhattan, pulling my hair out trying to find that elusive parking spot. With the dial set to the trusty WMFU I heard a voice come through my speakers that stopped me in my tracks. I pulled over to the side of West End Avenue and sat there listening to what sounded like Van Morrison circa 1968, a heady stew of complex jazz and rock arrangements behind a voice wrought with emotion and soul. I immediately went out and purchased "Soul Rush" by the Swedish phenom, Nicolai Dunger, and was amazed by how much the record resembled Van Morrison's masterpiece (and one of the greatest rock albums ever recorded), "Astral Weeks." I thought nobody could ever even come close to capturing the magic of that record. And while I'd be hesitant to put "Soul Rush" on that exalted plane, I will say that it's an accomplished work that has retained its power and one that I will surely revisit often in the future.

Neil Halstead, "Sleeping on Roads" (4AD, 2002)

Adobe Flash Required for flash player. "Hi-Lo and Inbetween"

After splitting from Slowdive, the influential shoegaze band he led from 1991-1995, Neil Halstead formed Mojave 3 and embraced a decidedly laid back West Coast-vibe. It turned out that Halstead's voice and songwriting chops really shined when dug out from the sheets of reverb pedal characteristic of his first band. The mood still remained languid and somewhat hazy, but now the music sounded like it was kissed by the California sun rather than enveloped by a London fog. When he took a short break from Mojave 3 to record his solo debut, Halstead emerged even further from the bevy of production washes and laid bare his talent to the fullest extent. "Sleeping on Roads" is a delightful record with minimal instrumentation and studio trickery and chock full of stellar songs that recall Nick Drake and early John Martyn. It's Halstead at his most vulnerable and most rewarding.

Robert Wyatt, "Cuckooland" (Hannibal, 2003)

Adobe Flash Required for flash player. "Lullaby for Hamza"

To say that Robert Wyatt is a musical treasure would be an understatement. A survey of his 40+ career is nothing short of breathtaking. As a member of Soft Machine and Matching Mole, Wyatt was a leader of the late 1960s British art rock scene that included bands like Pink Floyd, Gong, and Caravan. "Cuckooland" was Wyatt's first work after a five-year hiatus and it finds the artist in fine form, delivering a sprawling 16-track platter of jazz-informed compositions fronted by his signature voice and razor sharp political and social commentary. There's an inherent oddness to Wyatt's sound, but once you spend some time with him, I guarantee that you'll be bewitched and soon craving a deeper journey into his rich catalog.

Oneida, "Secret Wars" (Jagjaguawar, 2004)

Adobe Flash Required for flash player. "Treasure Plane"

Inspired equally by the wild punk adandon of the MC5, the restless experimentation of Krautrock bands like Faust and Can, the stoner riffs of Blue Cheer, and the proggy noodling of Deep Purple, Oneida have been releasing consistently great (and greatly varied) albums for the last ten years. Their live shows already a thing of legend, the Brooklyn-based trio burst onto the scene with the ear-splitting assault of "A Place Called El Shaddai’s" and never looked back. While things got a little tamer on subsequent releases such as "The Wedding" (2005) and "Happy New Year" (2006), Oneida’s adventurous spirit has never wavered. It's a doozy trying to choose their best, but if you twisted my arm, I'd pick the sonic assault of "Secret Wars," an album that touches on many of the band’s stylistic strong points (from acid rock to post-punk). Take it for a spin, bliss out, and let your mind (and hearing) be blown.

Vic Chesnutt, "Ghetto Bells" (New West Records, 2005)

Adobe Flash Required for flash player. "Virginia"

Vic Chesnutt often gets more ink devoted to his famous admirers (Michael Stipe, Madonna) than his music, which is a shame, because he's amassed a remarkably consistent catalog since his unassuming debut back in 1990. Ever the restless spirit, Chesnutt has displayed a refreshing diversity in sound, from the starkness of his early records ("West of Rome," "Drunk") to the highly orchestrated polish of his collaboration with Lambchop ("The Salesman and Bernadette") to the dark, layered clang of his later work with Fugazi's Guy Picciotto ("North Star Deserter," "At the Cut"). But one thing remains a constant no matter what sound he's peddling: an elegant, somewhat skewed Southern Gothic storytelling style that's often disturbing, but always arresting. As one reviewer commented, Chesnutt fits more comfortably in the great tradition of Southern literature than Southern rock & roll. "Ghetto Bells" finds Chesnutt working with a small combo of world-class musicians, including Bill Frisell on guitar and Van Dyke Parks on keyboards and accordion. The record drips with a dark, cinematic grandeur that's fitting for Chesnutt's elliptical wordplay and it qualifies as one of his greatest achievements.

While traveling in Argentina last week, I learned that Vic Chesnutt died on Christmas Day following an apparently deliberate overdose of muscle relaxants. He was 45. Chesnutt leaves behind a wife and a rich musical legacy. He will be sorely missed.

Joe Henry, "Civilians" (Anti, 2006)

Adobe Flash Required for flash player.
"Our Song"

Joe Henry arrived on the scene in the mid-1980s as a sort of alt-country folkie troubador heavily indebted to Bob Dylan. In 1992 he made a name for himself with the charming, "Short Man's Room," but he didn't really hit his full stride until 2001's "Scar," when he started experimenting with heavier textures and more nuanced song structures. Three stellar records followed, the best of which is 2007's "Civilians," a deeply moving song cycle about the state of our country, the need for something to believe in, and the hope that we find our footing in these uncertain times. Expert backing by an all-star band featuring Bill Frisell, David Piltch, Greg Leisz, Patrick Warren, and Jay Bellerose add to the beauty.

Destroyer, "Destroyer's Rubies" (Merge Records, 2006)

Adobe Flash Required for flash player. "Your Blood"

Take one part T. Rex glam racket, one part Bowie vocal inflection, and one part Dylan inscrutable wordiness and throw in some indie rock guitar crunch and you have the winning formula for Dan Bejar's Destroyer. As the least known, but most rewarding, songwriter from the indie supergroup, New Pornographers, Bejar has churned out several Destroyer albums over the past few years, but none gel quite like "Rubies." It possesses the perfect marriage of his varied musical influences and his idiosyncratic wordplay. It's hard to figure out exactly what he's going on about, but there's no denying how much fun it is trying to figure it out.

Ólöf Arnalds, "Við Og Við" (12 Tonar, 2007)

Adobe Flash Required for flash player. "Við Og Við"

Bjork is by far Iceland's most famous export, and she put out two remarkable records over the past decade with "Vespertine" & "Volta." But her fellow countrywoman and sometimes collaborator, Ólöf Arnalds, released an album that matches Bjork's recent work at least in terms of quality if not acclaim and execution. Where Bjork utilizes skittering beats and vocal acrobatics to conjure the rugged topography of her native land, Arnalds uses a gentle coo and sparse guitar fingerpickings to evoke the more mystical qualities of the isolated North Atlantic country. Both artists' musical output (like many other Icelandic musicians - see Sigur Ros) are products of their physical environment. But where Bjork seems to have no antecedents, Arnalds is clearly indebted to the folk tradition of the British Isles and singers such as Vashti Bunyan and June Tabor. Killer songwriting and intricate guitar work matched with that irresistible voice (one that critic Andy Battaglia perfectly described as sounding "both overwhelmed by wonder and weathered by regret") make "Við Og Við" one of the decade's finest releases.

Frightened Rabbit, "Midnight Organ Fight" (Fat Cat Records, 2008)

Adobe Flash Required for flash player. "Keep Yourself Warm"

I can’t say enough good things about this Scottish quartet. Their 2007 debut, “Sing the Greys” was a solid collection of lo-fi sloppy punk pop. Their 2008 follow-up, "The Midnight Organ Fight" was a giant leap forward; a confident powerhouse of clever hooks and theatrical lyrics. “You won’t find love in a hole / It takes more than fucking someone you don’t know to keep warm,” Scott Hutchison sings on “Keeping Yourself Warm,” an admonishment to an ex –girlfriend. The song builds on a steady keyboard and guitar riff to a fist-pumping climax with Hutchison exhibiting a vocal range that would make Chris Martin jealous. In a fair world, Frightened Rabbit will enjoy the widespread success they deserve. Look out Coldplay, there’s a rabbit on your tail!

Nancy Elizabeth, "Wrought Iron" (The Leaf Label, 2009)

Adobe Flash Required for flash player. "Winter Baby"

She has the unique delivery of Regina Spektor without the cloying whimsy, the strong pipes of Tori Amos without the drama and a stately, mature songwriting knack that recalls prime Suzanne Vega and even "Blue"-era Joni Mitchell. The sparse piano-led arrangements are expertly adorned with guitar, glockenspiel, vibraphone and an ancient Dulcitone, all played by Elizabeth herself. A touch of trumpet here and a dash of hand-claps there spice things up without swallowing the vocal bedrock. These are haunting songs that overflow with a beauty that draws you in, yet they possess a mysterious quality that's unsettling, keeping you on your toes lest you dare drift away. Elizabeth's music demands your attention and it's astonishing to me that we haven't heard more about this young talent. Here's hoping we hear a lot more from Nancy Elizabeth in the decade to come.