Only the most hardened of cynics could deny that 2007 was a healthy year for music. That this state of relative artistic prosperity came commensurate with the inevitable collapse of the record industry seems at first surprising, but upon reflection, far less so. After all, that collapse involves the industry’s inability to reconcile itself to the massive changes in the manner in which music is created and distributed. While the execs stumbled over their own inadequacies, the music-makers simply got on with the job at hand.

In so many instances, all of this translated into a creative resurgence in popular music. Since the labels weren’t able to figure out a way to rein it all in and grab a healthy chunk of the profits in the process, the window was left wide open for artists to be as irreverent and creative as they pleased. Many took advantage of the opportunity, and we all benefited from their decision to do so.

Live music got a kick in the pants as well, with hot package tours, strong arena shows and some notable reunion jaunts grabbing the spotlight, for once deservedly.

The best thing about popular music in 2007? The sheer variety of it.

Hip-hop has lost most of its relevance as a pioneering, groundbreaking force, but a few artists are venturing into what we can’t help but call “post-hop,” with some exciting results.

What is sadly still called “classic rock” was bolstered by some incredibly vibrant efforts from seasoned veterans.

Female artists were as thrillingly prolific as their male counterparts.

And some relative newcomers gave us some hope for the heartbeat and the possible future of popular music.

For the first time in more than a decade, there’s really not too much to complain about. Here’s to a brave 2008.

Too obvious? Too bad. Springsteen and the E Street Band, with the help of producer Brendan O’Brien, made one of the finest records of their careers. It didn’t hurt that Springsteen found a way to passionately lament the state of the country while simultaneously penning songs that could be broadly interpreted.

As ever, the man is a masterful minimalist, wasting not a word, not a note, not an idea.

Widely hailed as the band’s finest album since the watershed “OK Computer,” “In Rainbows” is in fact just another great Radiohead record in what has become a long line of them. It’s sonically dense, texturally inventive, both heart-onsleeve passionate and to the left of obscure, incisively performed — an instant classic.

The surprise of the year, though it probably shouldn’t have been so surprising. Plant and Krauss delve into close-knit vocal harmony, and with producer T Bone Burnett and a stellar cast of musicians, create a poignant, trippy, space-blues record for the ages. Sublime.

The Roy Orbison of his generation. Hawley has never failed to deliver the goods, and this record ably follows the all-but-unbeatable “Cole’s Corner.”

A global market-styled mash-up from the Sri Lankan-born M.I.A., who is ostensibly a rapper, but in effect, is a sort of internationally astute collage artist. This record is all over the map, but ultimately comes across as party music for a particularly cross-cultural evening at the Bazaar.

A penchant for twisted electronica, a taste for coy balladry, a keen eye for the sonic kaleidoscope, and the otherworldly beauty of her singing aided Bjork in the creation of this truly unique masterpiece. It didn’t need everywhere-at-once producer Timbaland’s help, but the pair’s collaborations were inventive and successful. A gem.

Though it is far less adventurous, harmonically speaking, “Neon Bible” came across as an analog to Radiohead’s “OK Computer” for this decade. It flows by like a river of sound and emotion, and leaves the listener drenched. At times overwrought, on balance, Arcade Fire’s sophomore effort brings fever-pitch yearning to bear on wide-screen, well-orchestrated, wall-of-sound grandiosity. A thrilling listen.

Happily, McCartney still had plenty of the “wonderful weirdness” in him when he hit the studio for this mini-masterpiece. It’s obtuse pop, for the most part, and few do this better than Macca. A candycoated romp through one of rock’s most vibrant imaginations.

Hands down, the finest heavy rock record of the year, and an ambitious effort even by the standards of this virtually peerless Canadian trio. Ensemble interplay on Rush records has always been sublime, but “Snakes & Arrows” boasted songs as well-written as they were well-played.

Wilco has hit a comfortable groove, which is not to suggest that “Sky Blue Sky” represents a slip from “A Ghost Is Born.” Rather, Jeff Tweedy and Co. have, through intensive touring, gotten to know each other intimately as players. Guitarist Nels Cline parties all over “Sky Blue Sky,” and helps elevate Tweedy’s songs heavenward.

Joni Mitchell, “Shine” (HearMusic); Cafe Tacuba, “Sino” (Universal); The White Stripes, “Icky Thump” (Warner Bros.); Amy Winehouse, “Back to Black” (Universal Republic); Prince, “Planet Earth” (Columbia); Ryan Adams, “Easy Tiger” (Lost Highway); Modest Mouse, “We Were Dead Before the Ship Even Sank” (Epic); LCD Soundsystem, “Sound of Silver” (DFA); Spoon, “Ga Ga Ga Ga Ga” (Merge); John Fogerty, “Revival” (Fantasy); Herbie Hancock, “River: The Joni Letters” (Blue Note).

Miles Davis, “The Complete on the Corner Sessions” (Columbia/ Legacy).

The whole big, beautiful mess, documenting an all-too-often misunderstood period in the late maestro’s life. If you think modern hip-hop production is creative, you should hear what Miles and producer Teo Macero did back in the day when an edit was performed with a razor blade and some 2-inch analog tape. Back then, you had to really want it. This music is worthy of the “genius” tag.

“Gypsy Biker,” Bruce Springsteen.

Moral outrage and heartbreak are the appropriate responses to American foreign policy in 2007, and Springsteen gave a human face to political decisions with this gutwrenching tale of a soldier’s return. There is so much nuance in the lyric, and such righteous anger in the vocal; the E Street Band proves itself to be one of the finest groups going with its dynamic interplay; and the imagery is both visceral and poetic. “The speculators made their money on the blood you shed/Your momma’s pulled the sheets up off your bed/Profiteers on Jhames Street sold your shoes and clothes/Ain’t nobody talkin’, because everybody knows.” Ouch.

Radiohead offers “In Rainbows” on pay-what-you-like basis.

In the process, the group made more money than it ever did while signed to a major label, since most folks who downloaded “In Rainbows” paid at least a couple bucks for the privilege. This may well turn out to be the final nail in the record industry’s coffin. My heart bleeds.

Bruce Springsteen and the E Street Band, the Magic Tour.

This band has never sounded better. The set list continues to change nightly. Not quite the fourhour marathons of yore, but this group still brings everything its got to every show.

Van Halen with David Lee Roth in the lead vocalist chair.

Who would have predicted they’d sound this amazing after so much time? CheckOs Mutantes, “Os Mutantes Live.”

Brazil’s bravest band comes back after 30 years, with all of its crossgenre magic still abundantly evident.

Tom Petty, “Runnin’ Down A Dream.” Director Peter Bogdanovich offers the definitive Petty documentary across the first two discs of this 2-DVD/2-CD box set. It ranks alongside Martin Scorcese’s Dylan doc “No Direction Home” as one of the finest in the genre.

“I’m Not There.”

Translating Bob Dylan-esque poetry from record to film seems like an impossible undertaking. This film pulled it off, and then some.

“Clapton,” by Eric Clapton (Random House).

Turns out old Slowhand has a way with the pen. Written in an honest, self-effacing prose style, Clapton’s memoirs make for a fascinating read.

Canadian punk-dance outfit You Say Party! We Say Die! covers R.E.M.’s “Nightswinning.”

This is completely out there, but pretty cool. Check it out atJoe Zawinul.

The Austrian-born jazz legend kept writing, performing and recording to the very end. It’s a cliche to say “a light went out” when he died, but it’s a cliche that applies this time. Rest in peace, Joe. You certainly served honorably.

jmiers@buffnews.com