This double-disc live album was recorded on the band's farewell tour in Manchester in 2001. Among the 22 tracks are most of the group's hits, including "Sit Down," "Laid," and "Born of Frustration."

Bowie's first studio album in three years (and first for his new label ISO Records, distributed by Columbia) finds the older white duke working with producer Tony Visconti for the first time since 1980's 'Scary Monsters.' Pete Townsend and Dave Grohl guest on guitar on a track apiece.

This enhanced-CD experience is TMBG's first official album geared toward the younger set, with 17 children's songs with titles such as "Where Do They Make Balloons?" and "I Am Not a Grocery Bag." (Not that the titles themselves make this any different than a grownup TMBG album, mind you.)

The Minneapolis underground hip-hop duo of rapper Slug and producer Ant offer up 18 new tracks.

The fifth album (and first in three years) for the bassist/singer features 16 new tracks (including a bonus remix of "Pocketbook" by Missy Elliot and Rockwilder) in an eclectic mix of styles.

The aptly named 'Three' is the third solo release for graphic artist/Sea And Cake guitarist Archer Prewitt.

It's a bit hard NOT to get noticed when your band consists of a couple dozen people dressed in white robes, but having one of the most memorable debut albums in recent years (think Mercury Rev + Spiritualized + Up With People) certainly doesn't hurt. This 10-song debut (which was originally intended as a demo) did in fact land the Austin, Texas band led by former Tripping Daisy member Tim DeLaughter a major label deal.

The Glasgow band's fifth album serves as the soundtrack to the Todd Solondz film of the same name--in theory, that is, as only a few minutes of this new material is actually used in the movie (in fact, much of the album was recorded after the movie was released). However, as with a typical soundtrack album, expect snatches of dialogue and numerous instrumental tracks interspersed with fully-developed songs.

The Manchester, England band reunites with producer Steve Osborne for their sophomore album, following 2000's 'Lost Souls,' which launched them into stardom in both the U.S. and U.K. "There Goes the Fear" is the lead single.

This debut LP for the electric English quartet was originally released in March 2001 to enough critical acclaim that Sony/Epic picked the album up for a re-release in the summer of 2002. Their sound combines harder-edged alt-rock with "shoegazing"-style noise manipulation.

The former frontwoman of the Los Angeles indie group that dog. strikes off on her own with this solo debut.

The Bay Area's Josh Davis (aka DJ Shadow) finally returns with a proper full-length follow-up to 1996's groudbreaking 'Endtroducing,' which achieved near-legendary status for its imaginative use of samples (a style that would later be adopted by acts such as The Avalanches).

The 17-year-old Canadian singer-songwriter-skater nails the adult alternative Michelle Branch/Jewel/Alanis Morissette sound on this debut album, featuring her breakout hit single "Complicated."

Looper's third album (and first for Mute Records) finds Stuart David & co. adopting a darker tone for these ten tracks, which are closely integrated with the band's new live show and promotional materials to tell the story of two characters named Evil Bob and Peacock Johnson.

Who are Dirty Vegas? Chances are you have heard one and only one song from this UK poptronica trio: the track "Days Go By," used as the soundtrack to an overplayed Mitsubishi car commercial. This debut album features that song (twice) and ten others which have yet to appear on the telly.

The Netherlands-based techno artist returns with his fifth album, which is less experimental than previous efforts, instead offering a seamless set of hardcore techno.

This is the second album for the eclectic indie-rock band fronted and founded by John Schmersal (Brainiac). For this outing, the band has expanded to a four-piece, with new members Matt Schultz and former Blonde Redhead bassist Toko Yasuda (who replaces Steve Calhoon and handles some vocals).

Steve Albini was behind the boards for the Chicago-by-way-of-Seattle band's third album for Touch & Go Records.

Working once again with producer Dr. Dre, Marshall Mathers returns with his third album.

A comeback of sorts, 'Title TK' comes a full nine years after The Breeders' previous effort (1993's 'Last Splash') and sees the group with a new lineup (only Kim Deal and sister Kelley remain) and producer (Steve Albini).

Ugly Casanova is the alter ego of Modest Mouse singer/guitarist Isaac Brock, who makes his solo debut with this release. The 13 tracks were produced by Brian Deck (Tortoise, Sea and Cake), and the backing band includes Pall Jenkins (Black Heart Procession) and Tim Rutili (Red Red Meat), but it sounds a lot like a Modest Mouse release.

Fresh off the Roxy Music reunion tour, Bryan Ferry resumes his solo career with this 13-track effort, a mix of Ferry originals and covers (including two Dylan tracks). Ferry has actually been working on this album for parts of the last eight (!) years, and it includes contributions from former Roxy Music partner/nemesis Brian Eno, the Eurythmics' Dave Stewart, and Radiohead's Johnny Greenwood.

This debut album from the French electronica trio features the Wild Colonials' Angela McCluskey on vocals on a number of tracks.

The second solo release for former Helium singer/guitarist Mary Timony was produced by Sparklehorse's Mark Linkous.

Bermuda-born singer/songwriter Heather Nova returns with her fourth album, which was a hit in England upon its release there in the fall of 2001.

Canada's favorite prog rockers return with their first album of new material in six years, eh.

Moving back to the indie leagues after one major-label release (1998's 'Freak*on*ica' for Geffen), the hard-rocking foursome return to form for the most part on these 11 tracks, retaining only a few techno touches from the experimentation of their previous effort.

Can he do it again? Coming a full three years after his surprise megahit 'Play,' this new album from Richard Melville Hall attempts to repeat that disc's success with (surprise) 18 new tracks, including collaborations with Angie Stone, Sinead O'Connor, Azure Ray and MC Lyte.

This 80s-esque goth/electro-pop debut album from the Los Angeles band fronted by P. Exeter "Elijah" Blue (the son of Cher and Greg Allman) finally sees an official release, after five years of delays and two separate major label deals.

The third LP for Kansas City's Get Up Kids follows after endless touring with the likes of Weezer and Green Day, and sees the emo band moving in a new direction, thanks in part to producer Scott Litt (R.E.M.).

When it rains it pours: After going five years without a Weezer album, fans of the quirky alt-rockers get two new discs in two years, with this (their fourth release overall) quickly following 2001's Green Album.

This is the debut full-length for the Los Angeles-based experimental electronic artist.

Warren Zevon's eleventh studio recording (his first, 'Wanted Dead or Alive,' was released in 1969!) features songs penned with the help of an unusual group of collaborators, including novelist Carl Hiaasen and sportswriter Mitch Albom (whose song, "Hit Somebody! (The Hockey Song)," features a vocal spot from David Letterman, of all people).

This is the debut full-length release for the New York art-rock four-piece, following a string of EPs.

The ever-changing Washington D.C. outfit dives completely into the realm of 80s-style electro-synth pop (complete with vocals) for this, their sixth album.

The Washington D.C.-based indie-pop group returns with a fourth LP. Sasha Bell of Ladybug Transistor guests on two tracks.

This is the fifth LP for the Athens, GA-based indie-pop band (part of the Elephant 6 collective) fronted by Andrew Rieger and Laura Carter.

One of two Waits releases in May 2002 ('Blood Money' is the other), 'Alice' was originally written as an opera and actually performed live during an 18-month engagement in Hamburg in the early 1990s. However, this is the first recording of these 15 tracks, culled from recent studio sessions.

Written for a Robert Wilson stage production of Georg Büchner's unfinished 1836 play 'Woyzeck,' 'Blood Money' is one of two Waits releases in May 2002 (the other being 'Alice,' which was similarly created for the stage).

The official solo debut for the Phish head features 12 new Anastasio-penned tracks, with the guitarist backed by an eight-piece band.

Now a three-piece, English glam-rockers Gay Dad return for their sophomore album, following 1999's Leisure Noise.

One of the first Next Big Things of 2002, Sweden's The Hives follow last year's media darlings The Strokes and The White Stripes in bringing the rock back to alternative rock. The only catch is that the band has been around for over a decade, with this particular album actually dating back to 2000, when it gained a limited U.S. release on a tiny Epitaph imprint. However, the Swedes were able to benefit from the rush to capitalize on the neo-garage/punk-rock movement by scoring a major label deal in early 2002 and a rerelease of this, their second full-length. (They've got The Strokes beat on length, though, managing to release an even shorter album, at just 27 minutes.)

The Boys' eighth studio release features features Johnny Marr on guitar.

The former Bauhaus member returns with his first solo album in six years, which sees him adding traditional Middle Eastern instrumentation to the mix and moving in a more ambient direction.

The third studio album for the heralded British band features 13 new self-produced tracks.

Luna's sixth studio album is their first on new label Jetset, and also their first (aside from Luna Live!) to feature Brita Phillips on bass (replacing Justin Harwood, and leaving Dean Wareham as the sole founding member remaining). The all-star production team of Gene Holder and Dave Fridmann were behind the boards for these 12 new tracks.

Instead of a real follow-up to "The Hour of Bewliderbeast" (look for that later in 2002), Damon Gough returns with the score to the film adaptation of the Nick Hornby novel. The 16 new tracks here are split between short instrumental pieces and full songs.

Costello's first album of original material in six years is a return to his new wave/punk/rock roots, with several members of The Attractions (Steve Nieve, Pete Thomas) in tow.

The former Replacements leader returns with his first solo effort in three years, which actually is two albums in one: Stereo, his new 12-track solo release; and Mono, a second recording by Westerberg and full band under the Grandpaboy name.

The long wait for this fourth album from Jeff Tweedy & co. is partially the result of the tumultuous recording process that left the band without its guitarist (Jay Bennett) and its record label (Warner/Reprise). Fellow Chicagoan Jim O'Rourke mixed the 11 tracks.

The fourth album from the Milwaukee emo band is their first with veteran producer Stephen Street, who gives the album a more expansive sound.

This covers album from the former American Music Club leader includes versions of songs by everyone from Culture Club ("Do You Really Want To Hurt Me?") to Glen Campbell ("Gentle on My Mind").

This long-awaited fourth album from the London-based outfit headed by Tjinder Singh and Ben Ayres is an even more eclectic mix of styles than previous efforts. The 13 new tracks include the excellent (and excellently titled) lead single "Lessons Learned From Rocky I to Rocky III," and a reworking of "People Power (In The Disco Hour)" from Singh and Ayres' Clinton side project.

The third album from the Chicago-based post-rock trio best known for their dual bassists was produced by John McEntire (Tortoise, Sea and Cake).

Christian-indie rocker David Bazan follows 2000's 'Winners Never Quit' with this full-length album. This time out, Casey Foubert (Seldom) lends a hand with the instrumentation.

This debut album from the Richmond, Virginia band (featuring Maura Davis and members of Engine Down) was produced in part by Sparklehorse's Mark Linkous.

Scottish composer Craig Armstrong has provided his arranging and writing talents to numerous film soundtracks (including Moulin Rouge) and albums by the likes of Massive Attack and Madonna. This is his third solo album, and features guest appearances by Evan Dando, Mogwai, Bono, and Photek.

The second mix album from Irish DJ/recording artist/film composer David Holmes weaves together obscure soul tracks from the 60s and 70s with short instrumental bits composed by Holmes (under his Free Association moniker).

Sheryl Crow's fourth album features guest appearances from Emmylou Harris, Don Henley, Lenny Kravitz, Liz Phair and Stevie Nicks.

Bonnie Raitt's first new album in four years was produced by Mitchell Froom and Tchad Blake.

This is the third album for the San Francisco band featuring drummer Lynn Perko and former Faith No More keyboardist Roddy Bottum.

Although the 20-something New York City rockers have the names of two former Can vocalists in their moniker, their sound is more frequently compared to the MC5. 'Electric Sweat,' their second album, attracted a good deal of attention for the band from music publications in the U.S., drawing the now-mandatory Strokes comparisons.

The mellow indie-pop duo (Maria Taylor and Orenda Fink, both former members of Bright Eyes) returned to the studio with producer Eric Bachmann (Archers of Loaf) to record this sophomore LP. Fink and Taylor also lend their vocals to a track on Moby's latest, '18.'

The New York-based experimental jazz trio expands its sound on this album by adding turntablists DJ P Love and DJ Olive and a five-piece horn section.

Believe it or not, these guys have been around for over 15 years now, and this is their eighth release (and first since 1998's 'Dizzy Up The Girl').

The Seattle-based emo trio (although now without one-time member James Bertram of Red Stars Theory) moves to Tiger Style Records for this, their fourth full-length release. Phil Ek (Unwound, Built To Spill) produced these 10 tracks.

The New York trio is back with their fifth album for Matador (and first since 1998). Here, they work with veteran rock producer Steve Jordan and get some help from Bernie Worrell and Dr. John.

This mellow, soulful effort features backing from Booker T & the MG's as well as a single track with Crazy Horse.

This is the Cincinnati, Ohio band's major label debut.

The third and final album by the current lineup of this Chicago-based indie band (band member and Aesthetics label head Ken Dyber is leaving the group) includes 10 new tracks, featuring the alternating male/female vocals of Joseph Costa and Lindsay Anderson alongside the band's moody, haunting sound.

The former backup singer for Missy Elliott and Timbaland comes into her own on this, her debut album, which was produced and co-written by her two benefactors. Tweet's presence and talent are evidenced by the surprising abundance of guitar/soul tracks here, instead of a reliance on electronic/dance numbers typical of a Missy-Timbaland production.

Kinky is a five-piece band from Monterrey, Mexico that combines rock, electronica, and traditional Latin music. This debut album was produced by Chris Allison (Coldplay, Beta Band).

This big-budget debut album from 22-year-old Detroit-raised rocker Andrew WK took the UK (well, at least its music press) by storm in late 2001.

Jack Dangers recorded this brief album under his own name (rather than as Meat Beat Manifesto) as part of the "Series 7" collection of albums, which require artists to record seven songs in a period of seven days.

The popular German trance DJ offers up his first set of original songs, featuring guest vocals by the likes of Kelis and Finley Quaye.

This third album for the Jersey City rockers (who come across a bit like an emo Tenacious D) was produced by Steve Albini.

Picked up by Emperor Norton for distribution in the U.S., this new wave-meets-eurodisco-meets-house disc features the programming talents of The Hacker and accented spoken vocals from Miss Kittin, who also appears on the recent Felix Da Housecat LP. Clubgoers may recognize the track "Frank Sinatra," which attracted some attention when released as a single in 1997.

Playgroup is the brainchild of producer/designer Trevor Jackson, who has remixed artists such as Massive Attack, U2, and Death In Vegas. On this eponymous debut, a variety of guests from the hip-hop and indie music worlds (Kathleen Hanna, Shinehead, Edwyn Collins, KC Flightt, Roddy Frame, Rowetta) lends vocals to the twelve eclectic tracks, including a cover of Paul Simon's "50 Ways To Leave Your Lover."

This is the third solo album (and first since 1996) for neo-soul singer Joi Gilliam.

This is the fifth album (and a return to English-lanugage songs) for the well-regarded Welsh indie band, now signed to a major label (Epic). It is the first album ever to be released simultaneously on DVD and CD (with the DVD containing a movie and a remix for each track on the album). Paul McCartney and John Cale have cameo appearances on the album.

As you may have guessed from the title, this is an album of covers by Howe Gelb, mainly recorded with Calexico's Joey Burns and John Convertino. The ten studio tracks and three live performances include versions of Sonny Bono's "The Beat Goes On," Grandaddy's "Blue Marble Girl," and Black Sabbath's "Iron Man."

Three years after the industrial band's farewell album 'Adios,' founding member Sascha Konietzko is back recording under the KMFDM name, although just as on last year's album under the MDFMK moniker, co-founder En Esch is no longer with the group.

This is the fourth Ninja Tune release for the innovative London-based hip-hop outfit, mixing somewhat more traditional rap cuts with acid-jazz and trip-hop instrumental pieces.

Kid Loco produced this sophomore effort for London's Departure Lounge, who are fronted by Tim Keegan (a former guitarist with Robyn Hitchcock & The Egyptians). Hitchcock guests on one track, as does former Cocteau Twin (and producer of Departure Lounge's debut) Simon Raymonde.

This is the first new album in three years for the folk-rock duo of Emily Saliers and Amy Ray.