“Rock Steady” (Interscope)

Before you shy away in fear of another goofy ska album, consider that most of this CD is driven by much cooler and palatable dancehall beats, hip-hop rhythms and linear, simple ’80s pop. The change of pace, coupled with some of the best production around (they teamed up with everyone from Prince to the Neptunes), makes “Rock Steady” the band’s best album to date. The songs are strong and focused yet the band still manages to have fun. My prediction–it will remain one of the freshest albums of 2002.

Lina

“Stranger on Earth” (Atlantic)

It’s unfortunate that this up-and-coming singer’s debut dropped around September 11. Lina would never have eclipsed the superstar likes of Christina or Beyonce, and that’s fine with her. She exists in an entirely different league–as a welcome alternative to the paint-by-numbers R&B crooners. She alternates seamlessly between Billie Holiday-style jazz, operatic arias and edgy street slang while the music keeps in step. All this, and Lina still comes across as an original voice.

Grant Lee Phillips

“Mobilize” (Uni/Zoe)

Eclectic singer-songwriter Grant Lee Phillips continues down the path of sublime pop with his first major solo effort, “Mobilize.” These tunes are subtly catchy a la Burt Bacharach, yet weird enough to attract those who would have never listened to Burt back in the day. Intuitive and bizarre, “Mobilize” wins for the sweetest ballads from outer space.

Eve

“Scorpion” (Interscope)

They call this razor-sharp lyricist “Pit Bull in a Skirt” and “the First Lady of Rap”–two extremes that this young rapper swings easily between. She lays down aggressively creative and mature lines with a confidence rarely seen among today’s female rappers or entertainers. With a style and flow all her own, Eve and her album are fiercely independent.

Gorillaz

“Gorillaz” (Virgin)

This collective considers itself the “first virtual hip-hop group” simply because it released its hit single, “Clint Eastwood,” as a fully animated video. Pretentious claims aside, this group of arty indie pop and electronica artists-producer/DJ Dan the Automator, Damon Albarn from Blur and a member of Cibo Matto–this album is a great amalgam of styles, effects and vocal styles.

Slightly self-conscious but worth it.

Wiseguys

“The Antidote” (Uni/Mammoth)

OK, so maybe this record did drop almost four years ago, but no one paid attention until this year. The beat-savvy singles “Ohh La La” and “Start the Commotion” blew up recently after being used in countless commercials and at sports matches. The Wiseguys, really one guy named DJ Touche, combine quirky studio wizardry with minimal, old-skool dance beats and some of the most unlikely samples around. I’ve been listening to “The Antidote” since 1998, and I’m still not sick of it.

Angie Stone

“Mahogany Soul” (BMG/J Records)

Though she may be obscured by the made-for-MTV likes of Alicia Keyes, Stone is the true talent to rise out of the neo-soul pack. Her voice is deep and smoky, her lyrics insightful and sometimes even funny (don’t mess with her when she’s singing “Time of the Month.”) Her emotional delivery is the stuff breakups and love are made of.

Buju Banton

“The Early Years, ‘90-‘95” (Penthouse)

Rough and tumble Jamaican dancehall star Banton’s early hits were raunchy and often controversial. Though many of these songs received criticism for their violent, sexist and sometimes homophobic content (that is, if you can understand what he’s saying under all the thick patois and slang), his style is stand-out and heavy while his delivery is raspy and hard hitting. This album is packed with raw talent.

Dolly Parton

“Little Sparrow” (Sugar Hill)

“Little Sparrow” is Dolly’s second effort to return to her humble roots. Here the country diva delves deep into Appalachian mountain music and Kentucky-style bluegrass. She sings old ballads of loss and love, as well as some self-penned numbers about howling mountain ghosts. It’s all done in her trademark crystalline highs and sweet sentimental lows. Though a megasuperstar, Parton still manages to capture and recall the flavor of America’s backwoods.

Paul Oakenfold

“Swordfish” (Warner Brothers)

Though you may not even remember the movie that accompanied this soundtrack, “Swordfish” is one of the best original albums to come out of a film in 2001. Scored entirely by DJ Paul Oakenfold, this largely instrumental album is full of skittering effects and addictive beats, special guests like the Neptunes and sweeping, contemplative moments rarely heard in modern American film scores.