Suyu Arayan Adam

Adam Faith was a contemporary of early British rock & rollers like Cliff Richard and Billy Fury, but Faith's sound was less Elvis Presley-derived and more aligned with teen idol pop such as that of Bobby Vee (who covered Faith's number one U.K. hit "What Do You Want?"). John Barry had a hand in Faith's early efforts, and the instrumental arrangements are truly remarkable, from the surprising hoedown-style fiddling on "Don't That Beat All" to the musical saw on "What Now." In fact, it is the arrangements that elevate this music above standard teen idol fare. Faith rocked occasionally, as on "Made You," had moderate success adapting to the changes wrought by the Beatles, and later worked with folk-pop material. The Very Best of Adam Faith tracks his evolution by collecting 26 U.K. chart hits from 1959-1966, four of which were recorded with the Roulettes. Faith had two minor hits in the U.S. in 1965 that aren't included, but The Very Best of Adam Faith is otherwise an exemplary and essential anthology of an early British pop star.

The Sons Of Adam—a lean, mean rock’n’roll machine from the Hollywood rock scene of the mid-1960s—quite literally blew the competition off the stage. Led by influential lead guitarist Randy Holden (Other Half / Blue Cheer), the Sons boasted an affable frontman in Jac Ttanna (Genesis) and an incomparable rhythm section in Mike Port and Michael Stuart-Ware (Love). Schooled in surf, emboldened by the British Invasion, the band had a fearsome reputation as a live act. In this unprecedented anthology, Saturday’s Sons features a previously unreleased 1966 full concert performance from San Francisco’s famed Avalon Ballroom, a recording so powerfully dynamic that few listeners will doubt the band’s masterful live presence. The quartet enjoyed a brief but incandescent three-year career which is fully documented on this compilation with rare 45s, studio outtakes and demo recordings, including fiery surf material from their early incarnation The Fender IV, and the legendary single “Feathered Fish”, donated to the band by Love’s Arthur Lee.

Following in the footsteps of your father is a difficult task, particularly if your father is someone as darkly gifted and idiosyncratic as Leonard Cohen. Adam Cohen, however, is sharp enough to avoid being pegged as a "new Leonard Cohen." That doesn't mean he establishes himself as an individual musical talent on his eponymous debut. Cohen does occasionally flirt with the somber poetry his father made famous, but his music is altogether more polished, sounding like smooth adult contemporary instead of haunted folk. That would have been forgivable if the songs actually said something. Instead, Cohen wallows in sophomoric poetry and insights that are far removed not only from his father's work, but most of his late-'90s peers. There is some promise in his melodies, as in "Tell Me Everything," but for the most part, Adam Cohen delivered his debut album before his talent had truly gestated.

Performed here by pianists Jenny Lin and Adam Tendler, Liszt’s rarely heard Harmonies poétiques et religieuses is a sublime example of Liszt’s early compositions. Lin and Tendler alternate movements of this monumental piano cycle. 'We’re raised on this stuff. It’s in our bones. And now we can come at this music with a different kind of lens.' — Adam Tendler 'This is definitely a very private Liszt, one who’s retreated to his inner self.' — Jenny Lin

Adam Lambert shakes off the shackles of the past by returning to his roots on The Original High. No longer with RCA, the label who signed him in the wake of American Idol, Lambert seizes this freedom by reuniting with producers Max Martin and Shellback, the team who gave him his big 2009 hit "Whataya Want from Me," but this is by no means a throwback. Martin and Shellback remain fixtures at the top of the pop charts – they were instrumental collaborators on Taylor Swift's 1989, the biggest album of 2014 – and they're a comfortable, stylish fit for the clever Lambert, a singer as comfortable with a glam-disco past as he is an EDM present.

Brahms was 43 years old when, after a long period of maturation, his First Symphony was published. Felix Weingartner commented on it ‘taking hold like the claw of a lion’ and its urgency marked a new phase in Brahms’ musical development. The Second Symphony is traditionally seen as the pastoral element in the cycle, while the Third, with its melodic beauty, has the courage to end quietly, an act of astonishing serenity. The compelling Passacaglia finale of the Fourth Symphony represents a fitting summation to one of the greatest symphonic cycles in the classical canon.

“Tribute to Gulda” is a fascinating new project to be released on Warner Classics by an exceptionally talented young Polish pianist, Adam Kosmieja. “Tribute to Gulda” features five pieces written by the legendary Austrian pianist and composer, Friedrich Gulda as well as Beethoven’s last Piano Sonata Op. 111. The compositions, with elements of jazz improvisations and classical virtuosity, are haunting and beautiful. They will appeal to the widest audience – from classical aficionados to casual music listeners alike.

After his recent Schubert album, Adam Laloum pays a visit to Brahms: the young prodigy of the early 1850s immediately established himself as the worthy heir of Beethoven and Schumann with his dazzling Sonata no.3. Almost forty years later, we find him just as wild and in no way mellowed - quite the contrary: he continues to explore new horizons in his Fantasias op.116, where recollections of the old masters of the classical keyboard mingle with incredibly modern intuitions.