Reggaeton exploded (in a way).

And Houston became rap's hot new city (at least in the pages of the press).

Such were the tentative trends that helped define a muted year in music.

The year 2005 certainly had its high points. But it couldn't spawn a mass movement (like grunge or '90s-style teen-pop). Neither could it reverse the most depressing trend in the music biz - ever-shrinking album sales. CD sales took a whopping 10% plunge from an already dispiriting downward spiral over the last five years.

For a while, it looked like certain genres could help minimize the problem. Rock appeared to roll back the advances it had lost to hip hop. At least it did during a nine-week period between late April and early June, when guitar-based bands dominated the Billboard album charts. But most of those albums - by bands from Nine Inch Nails to Audioslave - ended up falling short of platinum status by the time their natural sales cycles wound down.

Likewise, the much-touted trend in reggaeton (that jumpy Puerto Rican mix of rap, salsa and reggae) only spawned a single million-selling star: Daddy Yankee.

Same with Houston's fresh line of rappers. Between locals Mike Jones, Paul Wall, Bun B., Slim Thug and Chamillionaire, only the first guy made the platinum grade.

The more significant advances in pop during 2005 had less to do with commerce than with something that should be more important: music. Three of the best albums of the past year each revived a different, lost aspect of music's past without resorting to a rehash.

Bright Eyes (aka Conor Oberst) brought back the tradition of literate folk-rock, spinning out smart and original verse on his double CD "I'm Wide Awake It's Morning"/"Digital Ash in a Digital Urn."

John Legend, who emerged as the male Alicia Keys, exuded the sophisticated melodies and graceful vocals that seemed snuffed out after '70s soul. And in the often-atrophying arena of rock, the Mars Volta proved it's still possible to make guitar music that can surprise and innovate in a way many thought impossible after Led Zeppelin.

Such stars gave 2005 its peaks. For more high points - as well as low ones - I've divided the year into categories:

BEST ALBUMS

1. BRIGHT EYES "I'm Wide Awake, It's Morning"/"Digital Ash in a Digital Urn": Finally, a sensitive young poet with something to say.

2. THE MARS VOLTA "Frances the Mute": For the second time in a row, Mars created guitar music that breaks new ground.

3. MARY GAUTHIER "Mercy Now": At age 45, Gauthier cut her country debut, rife with tales of alcoholism, physical abuse and emotional breakdowns, all told with a chillingly dry eye.

4. JOHN LEGEND "Get Lifted": Soul with genuine sophistication.

5. LOW MILLIONS "Ex-Girlfriends": Adam Cohen, son of Leonard Cohen, offered heartbreak songs with a pop craftsman's ear.

6. ANTONY "I Am a Bird Now": The lush-voiced singer serenaded gender blending in a way that could make those of any sexual persuasion swoon.

7. KEYSHIA COLE "The Way It Is": Cutting-edge R&B, with the feisty character of a young Mary J. Blige - but with finer skills.

8. SEU JORGE "Cru": The Brazilian singer-guitarist put his own gorgeous stamp on samba.

9. COMMON "Be": Not only the catchiest rap album of the year, but the smartest.

10. NEIL YOUNG "Prairie Wind": A sweet meditation on mortality, recorded by Young at a time when he thought he might be facing it.