Another year, another review, another case of an ageing memory. However, I've tried to keep a bit of a record of my records (so to speak) this time around so hopefully I won't forget too much. First up, the long players:

I'm going to start off with something of a cheat in that it was released last year. However, DJ Muro's A Taste of Chocolate Bitter and Sweet Volume 2 has been far and away my most listened to purchase of 2009. The concept of digging in black music circles is just about as anal and nerdy as it gets. All the top DJs are obsessed with finding undiscovered breaks and grooves that they can either play out or sample. They therefore travel the world digging through the crates of warehouses and second hand shops trying to find that elusive spine-tingler of a hidden gem that can take them to the top of the geek charts amongst their mates. The likes of Keb Darge, Kenny Dope, DJ Shadow and Gilles Peterson are among the kings of this scene, but - as in most areas of music - the mad Japs have got a fair few contenders for the crown, too. So, look no further than Muro and this phenomenal mix of 22 (literally) unknown modern soul, boogie, funk and rare groove tunes for evidence.

I am nowhere near being in the league of these guys when it comes to musical knowledge, but it's not often I buy a compilation or mix with more than maybe 20% of stuff on it that's new to my ears. However, on this release, all 22 cuts drew a complete blank. More than that though, I don't even recognise any of the artists (with the possible exception of Chaka Khan). I'm not alone however, because no-one else appears to either because Muro, in a decidedly music-fascist move, did not include a track-listing with this mix. Now that's usually no impediment to the combined powers of the global online nerdience. However, no-one on the net seems to have a clue what these tunes are. Even Grace Notes, the iTunes database, gets it wrong. And as for Shazam - put it this way, I've had 22 free texts to them. Infuriating.

However, despite the music geek allure of all I've just described, it's the tunes that stand out. The level of quality is unbelievable. Quite simply, there is nothing that falls below classic on the entire CD and I just can't stop listening. You can still buy this on import for some ridiculous figure, but it's also downloadable at Juno for a fiver (!!!) You will not regret it, soul boys.
In a similar vein to Muro's Chocolate is Mr Scruff's contribution to the Southport Weekender CD he did with Jazzanova. It's all Northern and Modern Soul deliciousness that - happily this time - provides full ammo for us soul nerds in the form of a track list. The mix includes the Vicky Anderson classic 'You're Welcome, Stop on By', but also cuts that are new to me in things like Bobby Reed's 'The Time Is Right For Love' and 'I Come Running Back' by Sandra Wright as well as many more juicy soul and funk nuggets. Good ears, Scruff lad.

In terms of other long players, I refer y'all to previous reviews. The Ecstatic by Mos Def has born repeat listening very well and still justifies the five stars I gave it on its release. 'Casa Bey' remains the stand out track, but Dilla's (I can't not mention him, can I?) 'History' with Talib Kweli on point is also, like most of the record, superb.

Speaking of Dilla, Carlos Nino and Miguel Atwood-Ferguson's Suite for Ma Dukes remains a strong testament to the man's genius with its orchestral arrangements. And another record I raved about at the time has also gone from strength to strength. Mayer Hawthorne's A Strange Arrangement, with its classic-meets-cutting edge approach to soul, has generated all manner of excitement with its sound; a case in point being Waajeed's imminent remix of 'Green Eyed Love' (taster here). Finally, Raekwon's Only Built For Cuban Links 2 has actually improved with listening from the four stars I initially gave it. 'House of Flying Daggers' is my Video of the Year, even if it's not (quite) the best track on the album. It's still ace, mind you - check the way the beat cuts out just as Rae arrives for the second verse and then drops back in again; crafty.
Raekwon also gets my Unreleased Track of the Year award (snappy, eh?) for 'Stick Up Muzic' with Busta Rhymes and Uncle Murda. The beat is an incessant little guitar loop followed by a wicked horn break. Filthy. My final Wu selection sees a complete change of pace for Meth's collaboration with his partner in crime Redman on this ode to the ladies. To quote the man himself, "Yeah. Nice." For some reason the pesky buggers have disabled embedding, so you'll have to go to all the hassle of hovering the mouse over this link and clicking the left button Wu is back, yo (as we're all saying in the Oxton projects this week). As ever, the BBC has been an invaluable source of new music in 2009, with Gilles and Benji leading the way. However, I've also recently discovered Sarah Love's Hip Hop M1x show on 1Xtra which, if you can get past the uber-irritating accent ("1Xtruuuuuuhhhhhhh"), offers a brilliant cross section of all that's new in hip hop. Certainly, the girl knows her vinyl and has pointed this hip hop dad in the direction of new artists such as Apathy, Fresh Daily, Jokerstar and Tanya Morgan. YouTube and Sarah herself can furnish you with all the evidence you need, but here's a (mini) taster in the shape of Fresh Daily's 'Starter Pistol': Still on individual tracks, but moving away from hip hop in the direction of more club orientated fare, 'Love Me Like This' by Floating Points is the stand out tune for me. It's based around a sample by Real to Reel and is a warm, bass-heavy slice of electronic loveliness. Staying in an electronic vein, but moving in a funk direction is Dam-Funk's best and most accessible tune, proving once again that my Label of the Year (Stones Throw for Dam Funk, Mayer Hawthorne, Madlib and the forthcoming - more on which later - Supreme Team) is at the leading edge of left-field black music: 'Hood Pass Intact'. I'm also still loving Bullion's 'Time For Us All To Love' as well as even more out there club tunes like Donaeo's 'Riot Music', which is all bass, drums, sirens and a great voice:

Madder still is Mark Pritchard's 'Wind It Up', which features Om'Mas Keith of Sa-Ra Creative Partners. Fucking mental, but a definite grower; I'd love to hear it out (although obviously never will as I'm an overweight, nearly 40-something dad who never gets to a club locally anymore, never mind the sort of place in the smoke where you'd hear this tune).

Sick (as we sometimes say in Oxton). Right, this is getting very long now, so I'd better get a shift on. Having touched on Sa-Ra, I'll throw 'Love Czars II' into the mix with its wicked rolling beat and fuzzy fat chords.

DJ Mitsu the Beats had a new record out this year full of jazzy hip hop beats and 'Get 'Em Up' featuring Slum Village's Elzhi is a fantastic case in point:

In terms of live music, my Performance of the Year was The Dead Weather on Jools Holland. I know that's a bit of a cop out, but I wanted to squeeze them in for answering my call in last year's review for a rock group that understands rhythm and melody and Jack White's latest forum for exercising his ridiculously twitchy creative muscle is just that. Besides, they're not a patch on record to their raw, funky and frenetic live outings. Happily then, their two best tracks from that very set are available on the ever-dependable Youtube. Heavy.

Tips for next year include Alicia Keys' sublime and subtle melancholic new one, 'Dreaming'.. Similarly highly anticipated is the Karriem Riggins-Madlib team up for Stones Throw, Supreme Team. 2010 will also hopefully see more of the fruits of Madlib's collaborations with Strong Arm Steady and Talib Kweli ('Money Right' is the one to watch for), while closer to home, Hudson Mowhawke could be exciting if he stays closer to the soulful side of his occasionally abrasive style:

Book of the Year is Renegade: The Lives and Tales of Mark E. Smith. Regardless of your views on The Fall (and mine are ambivalent), this is full of sardonic, egotistical and coruscating musings of the highest order. Funny as.

The RIP section of this review must go to the once mighty Fat City Records that sadly passed away this year before being reincarnated in the smoke. All is not lost as they have introduced some handy little features such as their own music player, and the link up with Jazzman has clearly strengthened their hand in terms of access to rarities and hidden gems. However, the hip hop charts have been conspicuous by their paucity over recent months. I could put this down to a dearth of new stuff at this traditionally slow time of year, but then I think back to what I said about Sarah Love's show and worry that my fears for the place will be confirmed. I hope not though as I still hold it in great affection.

However, as one door closes, another one opens and this time it's a music site that is fully versed in the digital age. Soundcloud is like a combination of a forum, a file-sharing site and MySpace, and it's all perfectly legal. I discovered this amazing edit there of William Devaughn's classic, 'Be Thankful For What You've Got' by Turkish bedroom boffin Onur Engin. Beautiful. It also allows me to share some of the above selections with you via a little mix of my own, too.

Hope you like it, cheers for reading and roll on more great aural entertainment in 2010.