The eMusic Dozen: Modern Singer-Songwriters

As the frontman and half of Squeeze, Tilbrook is a master craftsman of the British pop/rock song. His melodies on this recent solo album are as strong as Squeeze's quintessential 1980 hit "Pulling Mussels From a Shell" (check out the addictive "Untouchable" and the funky "Lost In Space") and with well-orchestrated arrangements Tilbrook creates the classic drums-bass-guitar-organ-vocal sound that essentially defines the art of great British singer-songwriting handed down from Lennon and McCartney. Here, he's comfortable enough to joke about somewhat pornographic references but also discusses more standard fare, like past lovers and present flames. It's hard to create such fine performances and perfect melodies; Glen Tilbrook's gift is that he makes great songwriting seem easy and effortless.

A lot of people wouldn't think of XTC, the quirky, creative British band, as singer-songwriters, but the band's Andy Partridge and Colin Moulding have written many well crafted but under-appreciated songs. Perhaps because so many of them are notable singer-songwriters themselves, the artists on this fantastic tribute album do those songs justice: Sarah McLachlan treats the fiery but probing "Dear God" with the care it requires, Spacehog update the jolly classic "Senses Working Overtime" and even XTC make a secret appearance as Terry and the Lovemen. Most importantly, listen to salsa star Ruben Blades redefine the exceptional "The Man Who Sailed Around His Soul" and you'll see how a great song, no matter the treatment, will shine. XTC mix classic straight-ahead chord changes and 4/4 rhythms with peculiar and often unexpected lyrical twists, which probably kept them out of the Top 40 charts over the years — all the more reason for you to give them another listen.

Poe's debut album, originally on Atlantic, showed serious promise. Here is a meaningful songwriter willing to explore non-traditional themes using then-forward-thinking arrangements and textures. This is not the typical female stand-up-and-sing-and-strum singer-songwriter, which is why I really like it. Listen to the opener "Hello" to get a feel for her — she has an interesting vocal quality, which some have said is reminiscent of Suzanne Vega. I find her willingness to experiment with her voice refreshing; so is her appreciation for the interplay between beat and vocal phrasing, as in "Fingertips." And I just love "Angry Johnny."

OK, I know this sounds crazy, but Colin Hay, the former Men at Work lead singer, is a wonderful songwriter. See, if you listen — really listen — those Men at Work hits were actually great songs disguised by '80s-style gratuitous keyboards and over-production. Like many of those devoted to mastering the craft, Hay got religion and moved to Nashville, then made this record of outstanding songs like the optimistic "Beautiful World" and the assertive "Love Is Innocent" as well as excellent re-interpretations of many of the trio from Down Under's past ("Down Under," "Overkill," the nuclear-war fearing "It's a Mistake" and of course, "Who Can It Be Now"). Hay's good-humored personality comes through, and he's not afraid to use mundane references to his everyday life (like the kind of tea he drinks) in his songs. You'll enjoy this, as long as you don't think back to what you were doing in high school when you first heard these songs.

Introduced to the public in the mid '90s as a favorite of Elvis Costello, Ron Sexsmith is a thoughtful storyteller with a sweet tenor voice. "This Song" is classic Sexsmith: the jangly guitar, the loosey goosey drums, the sax-sans-reverb, and some healthy skepticism about the world. I love the romantic and timeless "Just My Heart Talkin'" and the thankful "Don't Ask Why" — they show his willingness to open himself up for your inspection. Although Sexsmith is forty-something, his boyish voice and comfortable melodies always sound fresh and young, and his demeanor is that of a boy with a lot to learn — which is ironic since aspiring songwriters will learn much from Sexsmith.

Yet another underrated and relatively undiscovered super-talent, Errico is a NYC staple. His early self-released records were better from a pure storytelling standpoint, but you'll still hear both modesty and edge in his music; the record's smooth production achieves a warm and comfortable soundscape. You can hear occasional glimpses of Stevie Wonder's influence in Errico's voice, and his guitar work often incorporates creative percussive elements. Listen to the vindictive "Daylight" and contrast that with the soothing "Springtime" to get your bearings, but be sure to spend lots of time on "1000 Miles" — it's atypical Errico, but a powerfully transporting tune (and includes Ben Mink, who produced k.d. lang, on electric violin!).

Full disclosure: I recorded and mixed this album. But I did it because I'm a Francis disciple, and this is a fantastic record! Francis tells rich stories, peppers his lyrics with astrological and religious identity struggles and displays truly genius musical moments. He got his start fronting the '80s band It Bites! and has released several other solo records; his earlier albums were slightly poppier, and this record is for a more mature listener. The subject matter is deep: war ("Soldier"), middle age ("Middle of Life"), father and son ("Through My Father's Eyes"), reflecting the hard-earned wisdom of an artist who's weathered a mid-life crisis and come out the better for it. He's somewhat difficult to classify as his work can span multiple genres and styles – his influences include early Genesis, solo Paul McCartney and even Cat Stevens — but Francis touches many listeners and manages to suck you in to each song.

One common characteristic of great singer-songwriters, it seems, is a distinct lack of mass commercial success, or even general public awareness. Hewerdine is no exception. In the '80s he led a fine British band called the Bible, but his solo work goes largely unnoticed. His approach is not dissimilar to classic '70s singer-songwriters like Dan Fogelberg, with gentle chord progressions and simple, rising melodies. The production is excellent in its simplicity, managing to be both powerful and placid. Hewerdine shows the same sensitivities to the craft of songwriting as, say, Marc Cohn (listen to "Dream Baby") in the way he fuses despair and hopefulness in the same piece. He demonstrates his skill at co-opting Nashville techniques ("Apple Tree"), using nature as a metaphor for love and relationships. Some particular treasures on this record are "Extras," "Roundabout" (with its tasteful piano work and Beatlesesque chord changes) and "Kite."