Throughout the publicity tour for 1998's Mutations, Beck, his publicists, and his label emphasized that this was not the proper follow-up to Odelay, the 1996 album that cemented Beck's status as a wild, post-post-punk visionary. He was still toiling away on that record, planning to drop it in 1999. By passing off the muted, haunting psychedelic folk-rock, blues, and Tropicalia of Mutations as a stopgap, Beck set expectations high for this Odelay follow-up, especially when word began circulating that Beth Orton, Kool Keith, Johnny Marr, and the Dust Brothers had all contributed to the album. Reportedly, over 40 tracks were recorded for the album, 11 of which (plus the inevitable hidden bonus track) were selected for Midnite Vultures.

Down on the Street is the fifth studio album by the London jazz-funk band Shakatak, released in 1984. The album peaked at no. 17 on the UK Albums Chart, and produced the band's second top-ten UK single "Down on the Street", which peaked at no. 9 on the UK Singles Chart. The album produced two other singles: "Watching You" and "Don't Blame It on Love".

Another erratic early album from the Beach Boys; few other rock LPs have such a wide gap between the best and worst material. On the good side, you have absolute classics in the Chuck Berry-ish "Fun, Fun, Fun" and the superb "Don't Worry Baby," one of the most advanced pop productions of 1964 with its breathtaking harmonies and unusual lyric. "The Warmth of the Sun" is one of the most melodic (and melancholic) ballads they ever recorded, and "Why Do Fools Fall in Love" is one of their best oldies covers. Yet the rest reduces the oceanic scale of the classics to dishwater, whether they're throwaway hot rod tunes and instrumentals, innocuous high-school romantic ditties, or a soulless cover of "Louie Louie." When this album hit the racks in early 1964, the Beatles were proving that you could make LPs that were all killer, no filler; the Beach Boys would soon be forced to up their ante.

When Iron Maiden's classic lineup famously reunited in the year 2000, their first new album, the quite excellent Brave New World, neatly reconnected both musicians and fans with the band's heritage, while simultaneously promising a prosperous future still to come. However, their next two efforts didn't fare quite as well, and whether Maiden was choosing to repeat the same moves without as much imagination or consistency on 2003's Dance of Death, or becoming bogged down in tiresome prog rock excess on 2006's desultory A Matter of Life and Death, it seemed that neither playing it safe nor taking risks was a surefire recipe for success anymore. And so the heavy metal icons took an extra year - for them, a record-breaking four - to work on their fourth post-reunion opus, and 15th career studio album overall, 2010's The Final Frontier, which, like many of their original mid-'80s classics…

Johnny Cash is a country music icon. His best period, of course, was probably on the Columbia label. This one picks up after he left Columbia in 1986 and signed with Mercury. Still, this isn't a bad set at all. This is another great disc in UMG's 20th Century Masters series. If your a huge Johnny Cash fan like I am, than this is a welcome member to your Cash collection. But, if your new or just a casual fan to Cash's music, buy this along with Sony's '16 Biggest Hits' and you are off to a great start.

Brilliant playing and great use of all of the marvelous tones an organ can produce. Tends to use the reed stops more which I know turns away some people but they add some brilliant color to the pieces. If you like Hindemith then you'll love this cd and Distler.

Ensemble 415 is a chamber ensemble devoted largely to the performance of Baroque music on period instruments. The numerical reference in the group's name derives from the pitch used for tuning instruments in the Baroque era. In performing chamber music, Ensemble 415 consists of just a few players, but for larger compositions, the number expands to a minimum of 13 and can reach up to as high as 40 performers. The ensemble's repertory has been broad over the years, taking in many Baroque standards by J.S. Bach, Vivaldi, and Handel, as well as lesser known fare by Muffat and others.

Quincy Jones' edition of Universal's 20th Century Masters: The Millennium Collection is hardly a comprehensive overview of Jones' career – that, as they say, would take a box set – but it does narrow in on the chart hits he had for A&M during the '70s and early '80s. Pretty much all of his pop crossovers of that era – outside of "'Roots' Medley," "Ai No Corrida," and "Money Runner," a theme song for the movie of the same name, released on Reprise – are here, which means this is very heavy on jazzy funk and jazzy quiet storm.

The Nina Simone entry in Universal Music's discount-priced best-of series 20th Century Masters: The Millennium Collection draws nine tracks from Simone's popular Philips Records albums of the mid-'60s, plus two tracks from her live album Let It Be Me, released by Verve Records in 1987. Several of Simone's most frequent concert selections and signature songs are included, among them a live take of "I Loves You Porgy," "Mississippi Goddam," "Don't Let Me Be Misunderstood," and "The Other Woman." With a running time under 40 minutes and limited to only two of the labels for which Simone recorded, this is hardly a comprehensive compilation of her work. But it is a reasonable sampler at a reasonable price.

The Secret Language of Birds (2000). The Secret Language of Birds is Ian Anderson's third solo album, but the first to specifically highlight his melodic skill and guitar prowess on a set of folk-inspired songs. His first solo album, 1983's Walk into Light, was marred by its full embrace of sterile '80s production in lieu of rusticity. While his second effort, 1995's Divinities, was a move in the right direction and a sonic precursor to the set at hand, it still was held back by its conscious decision to downplay Anderson's obvious acoustic heritage for a more classical bent. But sometimes the obvious is what works best, and Jethro Tull fans were pleased to learn that Anderson's third release finally embraced his classic sound. Just like Tull's excellent Roots to Branches, this one has a decided ethnic flair, running the gamut from Indian to Russian to Celtic…

Though in 1964 some purists considered Reflections to be certain evidence that Stan Getz had sold out and abandoned "real jazz" completely, the album is actually, while perhaps not a masterpiece, an artful and intriguing sidebar to the tenor saxophonist's now celebrated bossa nova period. Getz was always a sublimely smooth and lyrical player who had already recorded in an orchestral setting on the groundbreaking Focus, and had a number one pop hit with Jazz Samba. It was only natural, then, that he would want to combine the two concepts. Although Reflections does at times bear the slight stench of easy listening (sweeping strings, a Lawrence Welk-like vocal chorus), it's definitely not elevator music. Getz is in as fine form as ever, and the restrictive pop-based song structures challenge him to use his creative faculties in interesting ways…

Whoever thought that the surface obsession of glam rock never met the loopy idealism of the hippie movement – at least in the musical realm – has obviously never heard the appropriately titled The Impossible Dream. Recorded, again, appropriately, as the Age of Aquarius was in full transition to the age of the Spiders From Mars and, later, the me decade, The Impossible Dream manages to capture that cultural DMZ in an operatic blast of pub rock-based pomp without circumstance. Harvey is the bacchanalian ringleader, marshalling the Sensational Alex Harvey Band's considerable, flexible resources to the task at hand and providing a damn good listen in the process.