On Mr. Music Head, guitar virtuoso Adrian Belew serves up a pure pop-sounding album, and does a satisfying job to boot. He puts his guitar to good use, at times sounding experimental, but only doing so to add color to his three-minute tunes. On "Oh Daddy," his daughter Audie shares the singing on this light, cheery little number. With "Bad Days," the piano is the main instrument, projecting Belew's emotions quite fittingly. Belew's fondness for animal rights is the main theme behind "Hot Zoo," and "Cruelty to Animals" is an assortment of animal noises heard amongst background instrumentation, reminding listeners that he hasn't abandoned his avant-garde style completely. While Belew's voice isn't really his largest asset, it's not unlistenable, and along with the multitude of instruments used on every track, each song carries its own persona. Past work with the Talking Heads can be heard from start to finish, showing up by way of certain staccato rhythms and well-constructed melodies. Hearing Adrian Belew in a pop sense is surprisingly enjoyable, even if he can't leave his experimental string bending behind entirely. AMG

This is in my view one of the basic Coltrane's albums. From 1957 to 1958, John Coltrane try to find his style from Miles Davis and Thelonious Monk. Standard Coltrane, to be fair, is a fruit that is rewarded. A fascinating compilation for early sight and sound of young Coltrane's talent. Above all, 'Spring is here' is to become another of Coltrane's favorite standards. And This is a hugely thoughtful and technically adroit reading, ranging without strain across two and a half octaves. The album is an intense spiritual and thoughtful re-construction.

Der Chefstyler aus Hamburgcity taucht auf seinem dritten Soloalbum noch tiefer und intensiver in den Funk-Kosmos ein. Nachdem Jan Delay vor drei Jahren auf Mercedes Dance bereits ausgiebig seiner Vorliebe für Funk-Sounds aller Art frönte, geht er diesmal noch eine Schritt weiter. Zusammen mit seiner Band und Co-Produzent Kasper "Tropf" Wiens (Dynamite Deluxe) hat er über ein Jahr lang an den zwölf neuen Songs gefeilt, bis selbst das letzte Detail genau passte. Das Ergebnis ist über weite Strecken schlicht atemberaubend. Die Funk-Anteile wurde bei Stücken wie dem genialen "Überdosis Fremdscham", dem mitreißenden Opener "Showgeschäft" oder "Oh Jonny", der ersten Single, noch einmal deutlich erhöht. Man hört dem Album von ersten bis zur letzten Sekunde an, das hier eine in über 150 gemeinsamen Konzerten zusammengewachsene Band die Unterlage liefert. Der coolen Lässigkeit seiner Vorbilder Chic und Johnny Guitar Watson kommt Jan Delay auf Wir Kinder vom Bahnhof Soul dabei oft sehr nahe, ohne jemals seine musikalische Eigenständigkeit aufs Spiel zu setzen. Doch auch wenn er das Tempo mal ganz rausnimmt, wie zum Beispiel beim wunderschönen Klagelied "Ein Leben lang", oder sich bei der Nummer "Abschlussball" als deutscher Prince versucht, garniert mit einer geschickt eingebauten Hommage an Falco, bleibt die Spannung stets im roten Bereich. Jan Delay liefert mit Wir Kinder vom Bahnhof Soul ohne jede Frage sein bisheriges Solomeisterwerk ab, dessen Bandbreite immer wieder verblüfft, vom Partydiscofunk von "Rave Against The Machine" bis hin zu einem introvertierten Song wie "Little Miss Anstrengend", der seine andere, oft sehr nachdenkliche Seite zeigt.

Skeletons In The Closet is a cover album from Children Of Bodom.

The music of percussionist, composer, and bandleader Gregg Bendian reflects his diverse interests in free jazz, contemporary classical music, and even progressive rock. One of Bendian's first major areas of interest was the music of Varese and Webern, which he investigated during his advanced studies at William Paterson College while still a high school student in New Jersey.

The complicated rhythm patterns and diverse sonic textures on Olé are evidence that John Coltrane was once again charting his own course. His sheer ability as a maverick – over and beyond his appreciable musical skills – guides works such as this to new levels, ultimately advancing the entire art form. Historically, it's worth noting that recording had already commenced – two days prior to this session – on Africa/Brass, Coltrane's debut for the burgeoning Impulse! label. The two discs complement each other, suggesting a shift in the larger scheme of Coltrane's musical motifs. The assembled musicians worked within a basic quartet setting, featuring Coltrane (soprano/tenor sax), McCoy Tyner (piano), and Elvin Jones (drums), with double-bass chores held down by Art Davis and Reggie Workman. Added to that are significant contributions and interactions with Freddie Hubbard (trumpet) and Eric Dolphy (flute and alto sax). Dolphy's contract with another record label prevented him from being properly credited on initial pressings of the album. The title track is striking in its resemblance to the Spanish influence heard on Miles Davis' Sketches of Spain. This is taken a bit further as Coltrane's combo stretches out with inspired improvisations from Dolphy, Hubbard, Tyner, and Coltrane, respectively. "Olé" likewise sports some amazing double-bass interaction. The combination of a bowed upright bass played in tandem with the same instrument that is being plucked has a sinister permeation that assuredly excited Coltrane, who was perpetually searching from outside the norms. The haunting beauty of "Aisha" stands as one of the finest collaborative efforts between Tyner – the song's author – and Coltrane. The solos from Hubbard, Dolphy, and an uncredited Tyner gleam from within the context of a single facet in a multi-dimensional jewel. All Music