I'm getting an early start this year, because there's one best-record list in Chicago that I've always wanted to do, but never planned with enough time: the best records released by a Chicago label, but NOT from local artists. Call it a celebration of the local record-label owners' taste, something perhaps purer than the factors involving releasing local records. After all, if someone's not in town, it's a lot easier to say no. This is limited to five full-length music records, with one EP and one spoken-word record for good measure. (The records are in no particular order.)

Various Artists, "Hi-Fidelity Dub Volume 3" (Guidance Recordings)
Though I championed the first two volumes of the "Hi-Fidelity Dub" series, this one is hands down my favorite of the three, perhaps because it's the most influenced by dub-reggae instead of the ubiquitous dub moniker that virtually every type of music seems to flaunt now. Standouts on this compilation include French reggae artist Daddy Ous' "Tous Le Monde," Blue Train's roots-oriented "Give I Strength," and a dub track from DJ Krush, "On the Dubble."

Troublemakers, "Doubts and Convictions" (Guidance Recordings)
The second of two Guidance records, this French trio composed of Arnaud Taillefer, Fred Berthet and DJ Oil actually recorded "Doubts and Convictions" in 2000, and Guidance held onto the record into the new year before releasing it (its release coincided with Guidance's new distribution deal with Caroline Records). A gentle, R&B tug in the direction of early Air; thoroughly suave, completely cool and inescapably French. Call it a stylish invocation of native Latin, French and African musics, funneled through a go-go-dancing filter and the hand of John Barry.

Split Lip Rayfield, "Never Make It Home" (Bloodshot)
The best live band in the country finally made a record worthy of its stage show, and Bloodshot Records—after sticking through two mediocre efforts—was still around to put it out. The speedball-bluegrass band writes some serious songs for "Never Make It Home," including the title track and "Movin' to Virginia," and neither of those are very fast. Don't fret, though, with "Kiss of Death" and "River" the band amps up the speed beyond that which would seem possible on stage.

Mouse on Mars, "Idiology" (Thrill Jockey)
For its fourth full-length record on Thrill Jockey, the two-person team of Andi Toma and Jan St. Werner outdid themselves, making Mouse on Mars' best record in four years. Blending electronic composition with electro-funk under the production tenets of IDM, MoM manages to make a smart electronic record that's as listenable (though not necessarily accessible) as it is shrewd. Listen on "Subsequence," as a piano, clarinet and strings are slowly simmered while creeks and chirps build in the background.

Wayne Hancock, "A-Train Blues" (Bloodshot)
Wayne "The Train" Hancock doesn't really break much new ground here, the "A-Train Blues" is just a continuation of what his fans love: the honkeytonk country sound that harkens back to the days when country music was called rock 'n' roll. Armed with little more than a guitar, bass and maybe a snare drum, Hancock sings his lonesome crooning style so well that he could be mistaken by the uneducated ear for the eldest Hank Williams. A great place to start if you're interested in underground country music.

Henry Rollins, "A Rollins in the Wry" (Quarterstick)
Despite the fact that Rollins has a dozen spoken-word records, "A Rollins in the Wry" marks his return to prominence as an orator. As much stand-up comic as storyteller, Rollins style has evolved into more of a situational commentator in the mold of Lenny Bruce or a younger, punk-rock George Carlin. The record has its issues (sometimes Henry doesn't know when to cut something short), and of course many have their issues with Rollins. Regardless, it's worth having.

TransChamps, "Double Exposure" (Thrill Jockey)
A five-song EP features the marriage of two unlikely parties: Trans Am and the Fucking Champs. Less metal than you'd expect from the Champs, more rock than you'd expect from Trans-Am, these four songs are—for lack of a better description—fucking hot. Throw out the goth-tinged "Somebody Like You," and what you have is a collection of four of the best, diverse songs made by anyone this year. From loud-ass arena rock to strutting cock rock to a trippy dance effort and bubbly pop, "Double Exposure" has as many good songs (four) as most full-length records.

Also by Dave Chamberlain

ON THE MAKE
We're offering three ideas of gifts you can make (complete with accurate, tested directions) that will not only impress the hell out of family members and friends, but will also fit into any scaled-down holiday budget. If it's not the gift, but the thought that counts, then a great gift made by your own hand should count for double points.
(2001-11-15)

RAW MATERIAL
When you think of artists who dabble in high-end electronic music, the picture that comes inevitably to mind is of a smallish, pale figure with horn-rimmed glasses and airs so pretentious that breathing becomes difficult. With Telefon Tel Aviv, nothing could be further from the truth.
(2001-11-15)

RAW MATERIAL
I'd call this a local record roundup, but it's not really a roundup. Instead, it's an update; the round-up comes at the end of the year, after the horses jump the fence. First up, an odd little supergroup, so to speak. Vortis, which includes in its ranks drummer/Sun-Times music critic Jim Derogatis and lead singer/Purdue political philosophy professor Michael Weinstein, is a highly political punk rock band.
(2001-11-08)

RAW MATERIAL
Few musicians would be able to maintain artistic focus over a recording period of six years, but Chiyoko Yoshida did just that.
(2001-11-01)

RAW MATERIAL
(2001-10-18)

RAW MATERIAL
(2001-10-11)

WEASEL WORLD
(2001-10-11)

RAW MATERIAL
(2001-10-04)

RAW MATERIAL
(2001-09-20)

RAW MATERIAL
(2001-09-13)

CLOSE CALL
(2001-09-13)

RAW MATERIAL
(2001-09-06)