From Van Hunt to "Van Lear Rose" to Van Halen, a wide variety of music appealed to the ears of liveDaily's writers in 2004.

Eleven liveDaily staffers and contributors compiled lists of their favorite albums of the year, which resulted in the rough consensus of our overall Top 10 list.

Each writer's list--along with his or her thoughts about the year--follows.

Post your own Top 10 albums list on liveDaily's message board.

Rob Evans, liveDaily Editor in Chief

If there's a common thread among my favorite albums of 2004, it's that they're all surprising on some level. How did The Libertines make the best rock album of the year with a singer who can't seem to put down the crack pipe? How the hell did Loretta Lynn [ tickets ] and Jack White find each other, and how'd Lynn make such a relevant album after so many years far, far from the limelight? A rock opera by Green Day [ tickets ]? A rock opera by Green Day that works? Uber-producer Kanye West was saving his best stuff for himself? Modest Mouse [ tickets ] sold a million albums? How'd Mos Def have the guts to stretch out so much when music's been his secondary--or tertiary--career in recent years? How often do veteran acts--like Juliana Hatfield and Five Eight--release their best albums so deep into their careers? How did Wilco [ tickets ] follow up the phenomenal "Yankee Hotel Foxtrot" with a set that's almost as rewarding? And why isn't Ike Reilly a household name?

1. The Libertines, "The Libertines" (Sanctuary)
2. Loretta Lynn, "Van Lear Rose" (Interscope)
3. Green Day, "American Idiot" (Reprise)
4. Kanye West, "The College Dropout" (Roc-a-Fella/Def Jam)
5. Modest Mouse, "Good News for People Who Love Bad News" (Sony)
6. Mos Def, "The New Danger (Geffen)
7. Five Eight, "Five Eight" (Self-released)
8. Juliana Hatfield, "In Exile Deo" (Zoe/Rounder)
9. Wilco, "A Ghost is Born" (Nonesuch)
10. The Ike Reilly Assassination, "Sparkle in the Finish" (Rock Ridge)

Richard Tafoya, liveDaily Contributing Editor

1. Green Day, "American Idiot" (Warner Bros.)
2. Elvis Costello, "Delivery Man" (Lost Highway)
3. Rilo Kiley, "More Adventurous" (Brute/Beute)
4. Patti Griffin, "Impossible Dream" (ATO)
5. Illogic, "Celestial Clockwork" (Weightless Recordings)
6. U2 [ tickets ], "How to Dismantle an Atomic Bomb" (Interscope)
7. Van Hunt, "Van Hunt" (Capitol)
8. Ambulance LTD, "Ambulance LTD" (TVT)
9. Los Lobos, "The Ride" (Hollywood)
10. Tift Merritt, "Tambourine" (Lost Highway)

2004's bright spots were a disparate bunch, ranging from Green Day's rock opera "American Idiot" to Columbus, OH-grown rap discovery Illogic to the East L.A.-simmered world grooves of Los Lobos' "The Ride" to the stunning, simple storytelling of Patti Griffin. Elvis Costello delivered his most fully-realized rock effort in a decade and Rilo Kiley blossomed into a pop-rock force to be reckoned with (perhaps even moreso in concert, where frontwoman Jenny Lewis' voice really shines). U2's much-ballyhooed release of "How to Dismantle an Atomic Bomb" promised their strongest rock effort to date; the reality was a solid collection with the near-perfect lead-off track "Vertigo" and the soaring "Sometimes You Can't Make It On Your Own" surrounded by strong, but, not surprising exercises, in the type of adult rock and balladry that U2 can seemingly churn out in their sleep. A key brick in a formidable career tower, but it's no "Unforgettable Fire."

Jon Zahlaway, liveDaily Staff Writer

1. Velvet Revolver, "Contraband" (RCA)
2. U2, "How to Dismantle an Atomic Bomb" (Interscope)
3. Beastie Boys, "To the 5 Boroughs" (Capitol)
4. Prince, "Musicology" (NPG/Redline)
5. Helmet, "Size Matters" (Interscope)
6. Nonpoint, "Recoil" (Lava)
7. Powerman 5000, "The Good, the Bad, and the Ugly, Vol. 1" (Megatronic)
8. Cypress Hill, "Till Death Do Us Part" (Columbia)
9. Ian Moore, "Luminaria" (Yep Roc)
10. Van Halen, "Best of Both Worlds" (Rhino)

The year's biggest music-news stories largely had nothing to do with music at all, among them Janet Jackson's breast-baring costume malfunction; the Vote for Change Tour--featuring Bruce Springsteen, Pearl Jam, R.E.M. and others--and its failed attempt to rally enough swing-state support to unseat President Bush; and the senseless and brutal murder of Damageplan/Pantera guitarist "Dimebag" Darrell Abbott and three other men during an Ohio concert. In the midst of it all, the digital-music revolution continued to surge--thanks largely to the continued success of Apple's iTunes Music Store and iPod portable music player--and, thankfully, some decent music actually surfaced, most notably the stellar debut from Velvet Revolver, an honest-to-goodness rock-and-roll band spawned from the splintered remains of two '90s-era behemoths: Guns 'N Roses and Stone Temple Pilots.

Donnell Alexander, liveDaily Contributor

1. Mos Def, "The New Danger" (Geffen)
2. Kanye West, "The College Dropout" (Roc-a-Fella/Def Jam)
3. Federation, "The Album" (Virgin)
4. J-Kwon, "Hood-hop" (Arista)
5. The Roots, "The Tipping Point" (Geffen)
6. Jadakiss, "Kiss of Death" (Interscope)
7. Snoop Dogg, "R&G (Rhythm & Gangsta): The Masterpiece" (Geffen)
8. Danger Mouse, "The Grey Album" (Self-released)
9. Various Artists, "Jazz on the Latin Side All-Stars, Vol. II" (Cupop)
10. Sharkey, "Sharkey's Machine" (Babygrande)

Yeah, the hip-hop world did benefit from extreme experiments under the knives of Kanye West, Danger Mouse and Mos Def, but this year, something less celebrated and equally invigorating also made the rounds: Street anthems. Groups like Federation--whose rowdy, Rick Rock-produced singles got more exposure on videogames and in clubs than on BET or MTV2--rocked enough neighborhoods to challenge big-label product, if only on a local level. Discounting that would be wrong. These organic hits were part of a wide range of innovation that kept rap music from boxing itself in.

John Dugan, liveDaily Contributor

1. Franz Ferdinand, "Franz Ferdinand" (Domino/Epic)
2. Devendra Banhart, "Nino Rojo" (Young God)
3. Animal Collective, "Sung Tongs" (FatCat)
4. Ghost, "Hypnotic Underworld" (Drag City)
5. Blonde Redhead, "Misery is a Butterfly" (4AD)
6. Paul Weller, "Studio 150" (V2)
7. Holly Golightly, "Slowly But Surely" (Damaged Goods)
8. Van Hunt, "Van Hunt" (Capitol)
9. Nick Cave & The Bad Seeds, "Abbatoir Blues/The Lyre of Orpheus" (Anti)
10. CocoRosie, "La Maison de Mon Reve" (Touch & Go)

I really wanted to find salvation in a bold new talent, or ride the rocket of hip-hop chart-busters, or descend into a dance-altered reality, but for 2004, I ended up going back to the sub-genres I love: dance-punk, trippy folk, soulful mod-rock and continental pop. If the names are new, the sounds aren't, really. Stylish dance-punkers Franz Ferdinand broke out of the underground on their solid debut with more charisma than originality or chops, but good beats and singing. Devendra Banhart made two oddly endearing discs, while Animal Collective and Coco Rosie made strangely lovable experimental pop music. Blonde Redhead shifted directions with their gauzy "Misery," but won me over. Paul Weller's covers album showed me that maturity isn't all bad, while Van Hunt's new soul began as a guilty pleasure and turned into a heavy rotator.

Christina Fuoco, liveDaily Contributor

1. Green Day, "American Idiot" (Reprise)
2. Eminem, "Encore" (Interscope)
3. U2, "How to Dismantle an Atomic Bomb" (Interscope)
4. Snoop Dogg, "R&G (Rhythm and Gangsta): The Masterpiece" (Geffen)
5. Collective Soul, "Youth" (EL Music Group)
6. Norah Jones, "Feels Like Home" (Blue Note)
7. Scissor Sisters, "Scissor Sisters" (Universal)
8. Josh Groban, "Live at the Greek" (Warner Bros.)
9. Duran Duran, "Astronaut" (Sony)
10. George Michael, "Patience" (Sony)

The year kicked off with the now-infamous Janet Jackson "wardrobe malfunction," two words that have become forever engrained in the minds of pop-culture watchers. Cultural watchdogs called out every outlet that they deemed immoral, ranging from radio shock jock Howard Stern, to song lyrics, videos and even television shows. Performers like Usher and Eminem nonetheless found major success, but, in the end, it wasn't the artists who caused the most serious case of immoral activity. On Dec. 8, Nathan Gale, who suffered from paranoid schizophrenia, gunned down heavy metal guitarist "Dimebag" Darrell Abbott on stage in Ohio as well as others at the club. A stage should be sacred ground for an artist, a spot where musicians can perform freely and not have to worry about being murdered. It's a sanctuary of sorts, used to celebrate music. Nathan Gale shattered that belief, and things will never be the same. Be prepared for longer lines as clubs, arena, stadiums, etc.--hopefully--enact stricter security measures to protect fans and bands.

Robert Reuter, liveDaily Contributor

1. Green Day, "American Idiot" (Reprise)
2. TV on the Radio, "Desperate Youth, Bloodthirsty Babes" (Touch & Go)
3. David Byrne, "Grown Backwards" (Nonesuch)
4. Tom Waits, "Real Gone" (Anti)
5. Wilco, "A Ghost is Born" (Nonesuch)
6. Modest Mouse, "Good News for People Who Love Bad News" (Sony)
7. Ray LaMontagne, "Trouble" (RCA)
8. Handsome Boy Modeling School, "White People" (Elektra)
9. The Black Keys, "Rubber Factory" (Fat Possum)
10. Chris Robinson & New Earth Mud, "This Magnificient Distance" (Vector)

Forever filled with teen angst and pop hooks, Green Day crafted an album that spoke to a generation, and allowed them to once again stretch their abilities. Shortlist music prize winners TV on the Radio brought artistic integrity back to the table with an album filled with soul, rock, doo-wop and everything in between. David Byrne, Tom Waits and Wilco all traveled new ground while staying true to their sound. Modest Mouse produced an album that was far better than the single. Ray LaMontagne's debut gave fans of Dave Matthews and David Gray some great listening while waiting for new albums. Handsome Boy Modeling School made a hip-hop album for all ears by bringing in guests Jack Johnson, RZA and Cat Power. The Black Keys brought the blues, and Chris Robinson brought the psychedelic rock, rounding out 2004 as a year that offered a whole spectrum of music.

Sarah Schmelling, liveDaily Contributor

1. Modest Mouse, "Good News for People Who Love Bad News" (Sony)
2. The Arcade Fire, "Funeral" (Merge)
3. Wilco, "A Ghost is Born" (Nonesuch)
4. Earlimart, "Treble and Tremble" (Palm Pictures)
5. Brian Wilson, "Smile" (Nonesuch)
6. Rilo Kiley, "More Adventurous" (Brute/Beute)
7. The Killers, "Hot Fuss" (Island)
8. The Polyphonic Spree, "Together We're Heavy" (Hollywood)
9. Loretta Lynn, "Van Lear Rose" (Interscope)
10. Franz Ferdinand, "Franz Ferdinand" (Sony)

My favorite albums of '04 can be divided, for the most part, into three groups: established artists with evolving sounds (Wilco, Modest Mouse and Loretta Lynn--with Brian Wilson coming in as an established artist finally reworking something old), brand new bands drawing from older sounds (The Killers, Franz Ferdinand), and artists that seemingly came out of nowhere (or, actually, Canada) with sounds all their own (The Arcade Fire). What they all have in common, however, is a sheer refusal to settle for conventional songwriting. Even if Modest Mouse experienced its first real hit by creating the addictive anthem "Float On," even if songs from The Killers sound like they've been ripped from seven different '80s bands, even if Earlimart seems to have, at times, truly channeled Elliott Smith, there is so much here that's absolutely original, it made for genuinely exciting music listening this year.

Gabriel Sheffer, liveDaily Contributor

1. Eminem "Encore" (Aftermath)
2. The Streets, "A Grand Don't Come for Free" (Vice)
3. The Killers, "Hot Fuss" (Island)
4. The Walkmen, "Bows + Arrows (Record Collection)
5. Danger Mouse, "The Grey Album" (Self-released)
6. Modest Mouse, "Good News for People Who Love Bad News" (Sony)
7. PJ Harvey, "Uh Huh Her" (Island)
8. U2, "How to Dismantle an Atomic Bomb" (Interscope)
9. Wilco, "A Ghost is Born" (Nonesuch)
10. Adrienne Young, "Plow to the End of the Row" (Igo)

Imagine if 250 of your compact discs were stolen. That's exactly what happened to me on December 13th. My alphabetized, 500-disc collection was instantly halved by some desperate burglar with sticky fingers and (apparently) really good taste in music. Everything from A to M is gone. A Perfect Circle to Modest Mouse, these CDs probably found their way under someone's tree or the shelf and dust of some shady pawnshop. I always thought my CDs would become an heirloom to be passed on to my children. Over the years, I've collected, whittled down, and edited the collection until it reflected a broad array of styles, eras, and dispositions. Now? No more Midnight Oil. No more Dire Straits. No more Jurassic 5. Everyday since the robbery I remember a great band or album that--oh yeah--was taken, too. Calexico's terrific "Feast of Wire" now resides in the netherworld alongside Ani DiFranco's awesome "Living in Clip" instead of on my shelf. Still, the greatest loss was my 20-disc deep Bob Dylan collection, complete with bootlegs, reissues, and boxed sets. Just like that. My New Year's resolution? In 2005, everything will be backed up on my computer. Now, if only I can figure out a way to keep that thing safe.

Scott Stegenga, liveDaily Contributor

1. Razorlight, "Up All Night" (Universal)
2. The Shore, "The Shore" (Maverick)
3. Muse, "Absolution" (Warner Bros.)
4. The Polyphonic Spree, "Together We're Heavy" (Hollywood)
5. The Ocean Blue, "Waterworks EP" (Ocean Tours Ltd)
6. The Futureheads, "The Futureheads" (Sire/Ada)
7. Loretta Lynn, "Van Lear Rose" (Interscope)
8. Interpol, "Antics" (Matador)
9. Division of Laura Lee, "Das Not Compute" (Burning Heart)
10. Secret Machines, "Now Here is Nowhere" (Warner Bros.)

In 2004, music-lovers became confused by things like Nirvana's muddled mess of 4-track recordings, Good Charlotte releasing the same album twice with different bonus tracks, and anticipated releases by bands like U2, The Prodigy and The Hives that amounted to a bunch of b-sides. Some other downers were uncontrollable, like the sad departures of legendary DJ John Peel and Ray Charles. However, great comebacks by Morrissey (making the world mope), Brian Wilson (making us "Smile") and Tears for Fears (a little of both) made the world a better place.

Don Zulaica, liveDaily Contributor

1. Green Day, "American Idiot" (Warner Bros.)
2. Colonel Claypool's Bucket of Bernie Brains, "The Big Eyeball in the Sky" (Prawn Song)
3. The Hives, "Tyrannosaurus Hives" (Interscope)
4. Cake, "Pressure Chief" (Columbia)
5. Gwen Stefani, "Love Angel Music Baby" (Interscope)
6. The Great Jazz Trio, "Someday My Prince Will Come" (Eighty-Eights/Columbia)
7. Descendents, "Cool To Be You" (Fat Wreck Chords)
8. Prince, "Musicology" (NPG/Columbia)
9. Nellie McKay, "Get Away From Me" (Columbia)
10. Alter Bridge, "Alter Bridge" (Wind-Up)

Guess I'm just feeling thankful, so grab a hankie. Thanks to the Descendents for giving us Green Day. Thanks to "The Late Show with David Letterman" for showing me how cool those damn Hives really are. Thanks to Gwen Stefani for getting my sorry ass off the wall. Thanks to John McCrea and Cake for being the "can of dog food" band they so brilliantly are. Thanks to Elvin Jones (drummer from The Great Jazz Trio) for showing that you don't need volume to be a force of nature--you are missed. Thanks to Nellie McKay for making me want to change my name to David. Thanks to Alter Bridge for proving, again (see Van Halen), that you can put out one hell of an album without relying on the frontman. Thanks to Les Claypool, Buckethead, Bernie Worrell and Brain for dishing out such funky sheet. And thank you, Green Day, for giving me the album I couldn't put down.

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