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The Mars Volta, "The Bedlam in Goliath" (Universal)

Words do no justice to the Mars Volta.

Returning with another genre-bending concept piece on their fourth long-player, the Mars Volta remain a testament to the idea that hearing is believing.

This is not so much a band as a creative trust between guitarist/arranger Omar Rodriguez-Lopez and lyricist/vocalist Cedric Bixler-Zavala, who team with an array of musicians, including Red Hot Chili Peppers guitarist John Frusciante, to bring their collaborations to life.

The wildly prolific Rodriguez-Lopez is nothing if not a guitar wizard, churning out blazing riffs and space rock atmospherics while Bixler-Zavala brings his wonderfully artful and at times incomprehensible lyrics to life with scorching wails.

Beneath the prog rock ambitions lies a true punk/hardcore spirit, making their diversions into odd time signatures, free form jazz, Eastern and Latin grooves, funk and psychedelia exciting and energetic.

John Kosik/Associated Press

Blind Boys of Alabama, "Down in New Orleans" (Time Life)

The longest-running gospel vocal group around establishes their mission with their version of the gospel standard, "Free at Last," which opens this new album. Old-school, quartet-style harmonies, as solid as an ancient church pew, testify over a funky rhythm that struts like a street carnival.

"Down in New Orleans" brings together two of American music's richest traditions: the roof-raising vocal harmonies of gospel music with the loose-jointed rhythms of New Orleans R&B. It's Sunday morning music for a rowdy Saturday night, as righteous as a baptism and as carnal as a bump-and-grind dance.

The venerable Blind Boys of Alabama, formed in 1939, are down to one original member, 75-year-old tenor Jimmy Carter. The once-robust tenor's voice is a whisper of its old self, as is evident during his parts on the country church standard, "Across the Bridge."

But the group keeps rotating in new members, and Billy Bowers, who takes the majority of lead vocals, growls and shouts with an earthshaking command. Bowers transforms standards like Mahalia Jackson's "How I Got Over" and the folk-protest song "Down by the Riverside" into spirituals as festive as a Mardi Gras parade.

Michael McCall/Associated Press

Joe Jackson, "Rain" (Ryko)

Joe Jackson has never been afraid to experiment.

Throughout his long career, he's embraced music styles outside his comfort zone — even at the expense of selling records. He covered swing on "Jumping Jive," wrote the instrumental "Will Power," and dabbled in jazz and salsa on "Body and Soul." Along the way he's created great music, angered some record companies and attracted a small but loyal fan base.

On his latest album, "Rain," Jackson opts for a bare-bones approach with just piano, bass and drums. He's joined by longtime bandmates, bassist Graham Maby and drummer Dave Houghton. Both have played with him for the better part of 30 years. Noticeably absent, however, is guitarist Gary Sanford.

The record's vibe is distinctly Jackson, but not his post-punk work like "Look Sharp." There's not a guitar to be heard on this one; instead the songs have a jazzy pop feel reminiscent of his 1982 album, "Night and Day," though the songs are not as radio-friendly.

While more album-oriented, "Rain" offers 10 nicely crafted midtempo ballads that makes the most of this scaled-down ensemble. No accident there. Many of them have been played in concert during his past couple of tours, but have never been recorded until now.

"Wasted Time," tells the story of a failed relationship that harkens back to his hit, "Breaking Us in Two." Then there's "King Pleasure Time" which has the feel of another older song, "Memphis." Throughout most of the disc, Jackson tinkers the ivories at times sounding like he's scoring the next Charlie Brown special. But he gets funky on "The Uptown Train," and intimately poetic on "Solo."

The result is mostly impressive. Airy musical passages live and breathe in most of the songs, as do his distinct, sometime falsetto, vocals. While it's not his greatest work, it's certainly notable.

John Carucci/Associated Press