The first part of my top ten album list for 2009 was published on Monday and is available here.  Now for the second half, still in alphabetical order:

Li'l Mo
and the Monicats –
On the Moon:  After a few years away from
the music biz, Li'l Mo returns with a collection that runs from country
to blues to rockabilly to 60s pop.  Most of the songs are originals but
a cover of the Bill Hailey song Rocking Chair on the Moon gives the
album its title.  Standouts include I Really Love (To Really Love You)
and The Boy Who Loved the Blues.

James Maddock – Sunrise on Avenue C:  James stock in trade is the
mid-tempo rocker, and he sings with an engaging gravelly voice with a
rasp someplace between Steve Forbert and Rod Stewart.  James has been
able to round up an all star band for this release, including Leslie
Mendelson on piano.  Sunrise show off James' strength as a songwriter,
including his ablity to mix humor into his songs without any of them
becoming novelty numbers.  Highlights include the anthemic When the
Sun's Out and Straight Lines, as well as Chance, Stars Align, Sunrise
on Avenue C and Dumbed Down.

Leslie Mendelson – Swan Feathers: Adult pop, mostly piano based. 
Leslie's lyrics are literate and as many people have noted, playfully
sexy.  A couple of the songs on this album have been rearranged from
the way Leslie had been doing them live to provide the opportunity for
Leslie to step out from behind the piano and onto center stage,
including the first single, Hit the Spot.

Or, The Whale – Or, The Whale:  This seven-piece band based in San
Francisco takes their name from the subtitle of Moby Dick.  Their sound
is alt country, rock and folk with great harmonies (from four
vocalists, two male and two female) and their high energy live shows
are something that you must see.  This album, the band's second,
expands their sound a bit with some hints of The Grateful Dead and even
a nod toward Fairport Convention.  Highlights include Datura, Never
Coming Out and Shasta.

Amy Speace – The Killer in Me: This is a reflective album as the songs
in this collection were written during the break up of Amy's marriage. 
Instead of the mostly country sounds of her last collection, Songs for
Bright Street, this material lends itself to a folk rock treatment for
the most part.  And although Amy ruefully decides that "the only thing
I've learned is I haven't learned a thing" she does kicks up her heels
during a very spirited Would I Lie.

 –Eliot Wagner