As the end of the year draws nigh, I, like so many other self-important know-it-alls, stoop to bequeath you, the audience, with my illuminating and elucidating best-of list for the year 2012. First, the also-rans.

Honorable Mentions

1. The Gaslight Anthem, Handwritten: Back when I first reviewed the album, I wasn’t all that impressed with it, and that hasn’t really changed. Not bad, but not up to the level of expectations I had after the one-two punch of The 59 Sound and American Slang.

2. Calexico, Algeria: A good album, but it didn’t really do much to grab my attention or work in a vein outside of what this band’s been doing for awhile now.

3. Neil Young & Crazy Horse, Psychedelic Pill: It’s classic-sounding Neil Young & Crazy Horse. If that’s something you don’t feel you have enough of in your life, it’ll definitely fill that hole, but it doesn’t do anything we haven’t heard from these guys over the past about 40 years.

4. JD McPherson, Signs and Signifiers: Okie musician doing ’50s rockabilly/R&B/swing. Good stuff, even if it feels a little too pastiche-y.

5. Divine Fits, A Thing Called Divine Fits: Britt Daniel could’ve just done another Spoon album. No one would’ve been able to tell the difference.

And now, on to the main event!

10. The Avett Brothers, The Carpenter: A much stronger effort than their previous, I and Love and You, with better songs and fewer fussy details. There don’t seem to be as many harmonies, though, which I find sad, and this particular record still fall short of their best effort (Emotionalism, for those keeping score at home).

9. First Aid Kit, The Lion’s Roar: Scandanavian (barely out of their?) teens doing Americana and doing it right? Yes, please. “Emmylou” is gorgeous and heartfelt, and the title track is just one of the best damn songs I’ve heard all year.

8. Of Monsters and Men, My Head is an Animal: “Little Talks” has been stuck in my head since sometime last year, and it hasn’t gone away. The rest of the album may not be quite as good, but it’s still pretty damn good. Plus, the lead guy in the band is a chubby man with a beard, which gives me hope of one day being a rock star myself.

7. Amanda Palmer & the Grand Theft Orchestra, Theatre is Evil: The album crowdsourced funding made possible, this ode to everything ’80s is pretty damn catchy. Palmer sounds like she’s having fun fronting a full band, and the GTO rise to the occasion. I do rather miss the old Dresden Dolls days, though.

6. Billy Bragg & Wilco, Mermaid Avenue, Volume 3: A bit of a cheat, as this is sort of a “leftovers from the first two volumes” deal with less-developed songs from the Woody Guthrie lyrics with Bragg and Wilco tunes collections. There are still some great songs here, though, especially in Wilco’s offerings (“When the Roses Bloom Again” and “The Jolly Banker” are two of the best songs to come out of the Mermaid Avenue project, if you ask me).

5. AC Newman, Shut Down the Streets: A rather more somber album than we’ve come to expect from the power-pop wunderkind, but a compelling set nonetheless. It’s not anything particularly different from what he’s done on previous albums, but why fix what ain’t broken?

4. Bob Dylan, Tempest: I know, I know, a Bob Dylan album only ranking 4th for the year? Surely this is a sign of the apocalypse. But Tempest just didn’t really do enough new that I felt it deserved a higher spot. It’s good and all, but it didn’t really wow me. The best I can say about it is that it’s new Dylan songs, and they’re pretty good, but they’re nothing we haven’t really heard before.

3. John Fullbright, From the Ground Up: Another Okie, this one a widely-proclaimed “next Dylan.” Or maybe a “next Woody Guthrie,” as Guthrie is an obvious touchstone for the young man’s work (they’re both from the tiny blink-and-you’ll-miss-it town of Okemah, where my own father grew up and I spent many childhood summers). As I mentioned back when this album came out, it sounds exactly like what I thought Fullbright would sound like with a full band, and that was a good thing indeed. The good songs on here are great, and the songs I didn’t care for were still pretty good, just not to my taste.

2. The Wallflowers, Glad All Over: A surprisingly fantastic album from the younger Dylan and his crack team of cohorts. Glad All Over featured several of my favorite songs all year, the best of which was “Misfits and Lovers.” It’s got a bit of the Clash to it, and there’s a nice change in the style from the Wallflowers’ earlier sound while maintaining some continuity. Good stuff.

1. Andrew Bird, Break It Yourself and Hands of Glory: Yeah, they’re two separate releases, and they really don’t share a theme or sound or anything, but they’re both fantastic and this is my list and shut up. Break it Yourself continues Bird’s streak of creating brainy, esoteric chamber pop that incorporates all sorts of different styles and sounds. His use of the violin becomes less and less about traditional playing and more about seeing what sorts of interesting sounds you can get out of the instrument. Hands of Glory feels like a spare, country companion to the world music-esque Break it Yourself. “Three White Horses” is probably my favorite song of the year. The changing tempos and shifting dynamics make it an inventive, enjoyable song.

Those were the ones I dug this year. What grabbed your interest?