The second album for the band was mainly recorded in the duo's living room in Winterville, Georgia.

Little Big Town's fourth studio album was produced by Wayne Kirkpatrick, who also contributed as a songwriter on the album.

The San Francisco-based trio releases its first album on the Kill Rock Stars label after a successful release of its self-titled debut.

The American Idol songstress returns with her highly anticipated third album featuring--for the first time as a bonus track--Fantasia's signature song from her acting role in The Color Purple.

The second studio album for the Berkeley group was produced with Bangladesh and the group's own Young L.

The Pretenders' Chrissie Hynde and Welsh singer/songwriter JP Jones collaborate on an album about love.

The husband-and-wife Swedish duo's third album was recorded with an Icelandic choir.

The Grammy Award-nominated singer's sophomore release is full of pop-rock gems and features guest appearances from Snoop Dogg and Rivers Cuomo.

Hawk is the third collaborative album between former Belle & Sebastian songbird Isobel Campbell and former Screaming Trees frontman Mark Lanegan. Like the two records before it, it draws inspiration from the sultry torch songs once performed by Nancy Sinatra and Lee Hazlewood. Unique to this album is a solid list of guest appearances, however, and the duo covers two Townes Van Zandt songs to boot.

The recording is the live improv performance of Christian Fennesz, David Daniell, and the Necks' Tony Buck at the Knoxille, Tennessee, Big Ears Festival in February 2009.

This is the final section of the Eels' concept album trilogy, which began with last year's Hombre Lobo and End Times.

The Grammy Award-winning R&B recording artist and actor returns with another album full of confessional slow jams and club bangers.

The follow-up to the band's Mercury Prize-winning 2007 debut album Myths Of The Near Future was produced by Ross Robinson.

Before the October 12th release of Sufjan Steven's full length album The Age of Adz, the artist released this eight-track EP as a digital download.

The indie-pop quartet's third album was produced by Death Cab for Cutie's Chris Walla.

This is the posthumous album for the rapper from Columbus, Ohio, who passed away from lung cancer in 2008.

The debut album for the quartet from California-based indie rockers who met at New York University was produced by Emery Dobyns.

The Detroit singer's follow-up to his 2005 album expands on his theme of intimacy and features Jill Scott as a guest vocalist.

The heavy metal legends return with their 15th studio release, still reinventing rock 35 years into their careers.

The Midwestern country-folk singer's full-length debut mixes twangy music from her hometown heartland with rock and pop into a catchy combination.

The British singer-songwriter--who has the best-selling album ever in Ireland--returns with a double album of hits, his ninth studio effort featuring previously unreleased material.

Recorded at San Francisco's legendary Hyde Street Studios, this Los Angeles quintet's third album continues to cross genres with punk-infused psychedelic jams.

1980's influences exist throughout the latest album for the Texas-born electronic artist.

Filter returns to its 1990s sound with its Bob Marlette-produced fifth album.

Recorded with the support of the Gershwin estate, this tribute album finds Brian Wilson putting his own stamp on a number of George Gershwin classics, as well as completing two songs left unfinished at the time of the composer's death.

T-Bone Burnett returned to produce the singer-songwriter's latest album which was recorded while Mellencamp was touring the Southern states.

This is the first album for the Louisiana-born country singer on Toby Keith's Show Dog label after completing his contract with Capitol records.

Ray LaMontagne self-produced his fourth full-length, the first without producer Ethan Johns.

The second album for the Leeds trio was recorded in Seattle, Washington, with producer John Goodmanson.

The Australian rock trio releases its first album as PVT, after an American band claimed legal rights to the name Pivot.

This is the third album for the Chicago-based indie rock band formed by two members of Silkworm.

Ever since the dawn of the electric guitar, white boys have sung the blues, some with considerably more success than others. Eli “Paperboy” Reed is part of that long tradition, but he stands apart from the pack as much as he belongs to it, due in large part to his age. Raised on CD reissues of classic blues and soul -- he was not even 10 when the first Complete Stax/Volt Singles box came out -- Reed has absorbed the sound and sensibility of classic ‘60s soul but sings without any white-boy blues affectations, totally comfortable in his own skin because nobody else his age, of any race, was attempting to make this kind of music. This can cause a kind of a disconnect -- Reed sounds so white when he sings, it’s disarming -- but he pours on the passion and has fully absorbed the tight turns of Stax and loves the sound as much as the structure, so much so that Come and Get It -- his third LP and first for a major label -- feels a bit like an unearthed relic, built on songs and sounds that could pass for unheard gems if it wasn’t for Reed’s unapologetically white voice, free of affectations and ticks. Some of that may be due to producer Mike Elizondo’s work -- he manages to make this sound like a throwback without being stiff, and without having a hint of Mark Ronson’s hipster retroism for Amy Winehouse -- but he’s just articulating Reed’s gifts, letting the songs stand front and center. And that’s what’s remarkable about Come and Get It: this is not a modern-day blues album, it’s a classic soul album, with almost all the tracks clocking in at 3:30 or less, leaving very little room for showboating solos. All concentration is on the tunes themselves, with the band kicking them toward kineticism, Reed channeling all his energy into making the songs sing, and they wind up sticking, sounding a bit like forgotten classics upon first listen, then winding up as familiar favorites upon the second. If there is any fault here, it’s that Reed’s voice remains perennially boyish, sometimes preventing this from achieving a level of gravity, but there’s no attempt to hide this: it’s an honest reflection of who Reed is, a young kid from Boston in love with the Southern sounds of the ‘60s and intent on carrying them on, even if he invites ridicule or scorn. He believes it, man, and based on Come and Get It, it’s hard not to believe it too. ~ Stephen Thomas Erlewine

The Southern rocker releases an album full of hell-raising, liquored-up country hits.

Known as "Baby Timberlake," this Duke University student is a pop singer who stands on his own, going from a dorm-room mixtape to potential stardom with his new album.

The band led by Zakk Wylde makes a metal album of explosive, ear-splitting jams.

The soundtrack features several cover songs and songs written by Beck for the movie based on the comic book about a young Canadian bass player named Scott Pilgrim who meets the perfect girl but soon discovers he must fight her seven exes.

The third full-length album for the Staten Island group was recorded live during a 48 hour period.

The Montreal band return with their third studio album of soaring anthems and varied instrumentation, a pairing that has successfully secured their place as indie rock royalty.

Recorded in world-renowned Sweet Tea studios, the experimental musical project started by San Diego-based Nathan Williams leaves laptop production and fuses fuzzy garage-rock with psychedelic pop for the new album.

With influences ranging from Sonic Youth to My Bloody Valentine, this Los Angeles trio's second album mixes melodic dream pop, electronica, and rock.

With influences ranging from Sonic Youth to My Bloody Valentine, this Los Angeles trio's second album mixes melodic dream pop, electronica, and rock.

Released in conjunction with the band's 2010 farewell tour, this double-disc acoustic album features new recordings of the Black Crowes' classic hits, as well as revised versions of rarities and deep cuts.

Dr. John revives the Night Tripper persona for his new album Tribal, which features guest spots from Derek Trucks, Donald Harrison, and tunes by Bobby Charles and Allen Toussaint.

The British post-punk band's latest album title gives away the game it asks people to play with the collection of 14 rerecorded hits.

The album of remixes of Lady Gaga's hits was originally released in Japan.

The fourth studio album for the Georgian-born British singer-songwriter was produced by William Orbit.

The Seattle indie rock quartet returns with its sophomore disc less than two years after debuting its self-titled album.

The third and final album from Bun B's Trill trilogy features such guests as Drake, Gucci Mane, Twista, Trey Songz, T-Pain, and Young Jeezy.

With a follow-up to his 2007 I'll Sleep When You're Dead still in the works, El-P releases an album of instrumental tracks.

The fifth album from this Los Angeles-based band is filled with straightforward rock-and-roll anthems.

The indie rock trio returns with its original lineup to release its first new album in 10 years.

This eight-track EP follows on the heels of his 2009 independent mixtapes, The Miseducation of Freddie Gibbs and midwestganstaboxframecadillacmuzik.

The second solo album for The Jayhawks' Mark Olson was produced by Beau Raymond.

After catching the ear of Sub Pop with its self-released album There's No Sky (Oh My My), the Milwaukee, Wisconsin, quartet recorded its major label debut with Justin Perkins.

Following the unexpected death of drummer Jimmy Sullivan, the metal band's latest release is a reflection on death and despair that fits the menacing mood, which has shaped its sound over the years.

Based out of Portland, the experimental rock trio's latest album delivers more of its unconventional instrumentation and showcases its genre-defying capabilities.

After several EPs, the Los Angeles based band releases its debut full-length of 1960s influenced pop songs.

Not commonly known for his subtlety, the singer from Wales returns with an album that keeps it simple and goes back to basics--blues and traditional gospel songs that are spiritual and speak nothing but the truth.

This is the debut album for the lo-fi indie band led by Dustin Payseur.

The Arizona indie rock band's second album was produced by Chris Chu of the Morning Benders.

Fat Joe's latest album features Busta Rhymes, Clipse, Cam'ron, Lil Wayne, Rico Love, TA, Too Short, Trey Songz, and Young Jeezy as guests.

This is the latest album for the California singer-songwriter, who started out as the nanny to Tom Waits' children.

Diplo and Switch return as Major Lazer with a six-track EP which includes a remix by Thom Yorke (Radiohead) of one track from their 2009 release Guns Don't Kill People...Lazers Do.

The latest project for Super Furry Animals' Gruff Rhys has him teaming up with Brazilian artist Tony Da Gatorra. The making of the album is the subject of the documentary, Seperado.

This is the third album for the two sets of brother and sisters produced Romeo Stodart with Valgeir Sigurosson.

The debut solo album for the ex-Razorlight drummer Andy Burrows was produced by Eliot James.

Brian Wilson and the Beach Boys are influences on the debut album for the trio from North Dakota, who started out as a duo named White Foliage.

The Canadian singer-songwriter from the folk trio Be Good Tanyas includes soul music influences on her first solo album.

Losing none of the momentum put in motion by his 2009 effort, Deeper Than Rap, Rick Ross keeps a very good thing going on Teflon Don, arguably his best album to date. You want rap-style luxury? Then Deeper is the better fit, but Teflon plays up the chilled and soulful elements of its predecessor, meaning Ross has graduated to a level where words like “organic” and “poignant” come into play. The former is best represented by “Mayback Music III” and it’s swirling, ‘70s-flavored dreamscape created by the J.U.S.T.I.C.E. League production team. Ross allows guests T.I. and Jadakiss to go first on the cut, then grabs his cigar for an uplifting story of ghetto triumph that goes from pushing to pleasing the folks (“Parents never had a good job/Now it’s black American Express cards"). When it comes to “poignant,” the evidence is dotted throughout the album with the rapper reflecting on where he’s been, and he often questions his own lust for fame. He chants the title to the opening “I’m Not a Star” as if it was a remindful mantra, but it’s his new love of contrasts that’s really interesting, following Kanye’s swaggering on “Live Fast, Die Young” with “Seems to me we gettin’ money for the wrong things/Look around, Maseratis for the whole team/Look at Haiti, children dyin’ round the clock/I’d send a hundred grand but that’s a decent watch”. The familiar party and thugging tunes work too with “B.M.F. (Blowin' Money Fast),” “No. 1,” and the mixtape favorite “MC Hammer” -- now with added Gucci Mane verse -- all coming correct. Add all the Illuminati references in the Jay-Z team-up (“Free Mason”), a decent smoking song (“Super High”), and a track where Cee-Lo’s performance just might make you misty (“Tears of Joy”), and it’s obvious Ross’ albums are no longer just vessels for his singles. ~ David Jeffries

The Chicago-based indie band move toward a more electronic sound on its first album without guitarist Jeff Carrillo.

The fifth solo album for the German-born artist is based on music he wrote for a 2008 Royal Ballet production.

The two-disc collection includes singles, remixes, and selections from the duo's EPs.

This is the debut full-length album for the band led by Francis Farewell Starlite; he remixed Kanye West's "Can't Tell Me Nothing" and worked with Drake on "Thank Me Later."

The fourth album for the indie group from Washington, DC, and Lexington, Kentucky, features Dawn Landes as a guest singer.

Sheryl Crow's seventh album takes a soulful musical direction for the singer-songwriter and features guest appearances from Justin Timberlake and Keith Richards.

This collection from Daniel Rossen (Grizzly Bear) and Fred Nicolaus contains B-sides and songs from the never released 2006 second album "The January Sessions."

This is the first album in over five years for the electronic duo from New York City.

The debut album for the Los Angeles-based rock band formed by Grandaddy's Jason Lytle and Aaron Burtch and Earlimart's Ariana Murray and Aaron Espinoza.

Covers of John Martyn's Fairytale Lullaby and Joanna Newsom's Swansea are included in the British band's acoustic second album.

Mark Kozelek goes acoustic with just his guitar on his fourth album under the name Sun Kil Moon.

Tracy Bonham’s career trajectory seems to run in reverse; with each record, she gets riskier, coming a long, long way from the bottled-up furious angst of her ‘90s alt-rock staple “Mother Mother.” Masts of Manhatta, her fourth album and first since 2005’s Blink the Brightest, ups the ante from that haunting record by accentuating its elliptical turns, its songs dodging conventional routes in favor of left turns. Bonham is assisted greatly by Beck guitarist Smokey Hormel and his trio, who lend her songs earthiness and art, giving this heft and welcome unpredictability. To an extent, Bonham lays out her album’s thesis on “We Moved Our City to the Country,” a knowing satire of hipsters fleeing the urban jungle for faux authenticity, where she feels the pull of the two extremes as evidenced by how her sawing violin contrasts with the cabaret shuffle of Hormel’s group. Masts of Manhatta walks this line throughout, sometimes getting quite a bit livelier, sometimes indulging in decidedly moody textures, always twisting just slightly from the expected, making for a record that’s quite intriguing upon the first listen and better on repeats, where the songs begin to dig in and all the textures gain resonance. ~ Stephen Thomas Erlewine

Elbow's Guy Garvey and Craig Potter produced the fifth album for the Manchester indie rock trio.