Released in 1974, Einsjäger & Siebenjäger (Earth & Sky) is a further rock entrenchment for Popol Vuh. Florian Fricke's piano is more percussively present with its runs and large chord voicings rippling throughout each composition. In addition, Daniel Fichelscher's electric guitar picks up where Conny Veit's left off, taking the bluesy space rock solo style into new territory by incorporating Eastern scales into the main body of his blues phrasing. There are five short compositions on the first side, which merely prepare the listener for the mind-blowing title cut, which takes up the entirety of side two. Here, in addition to the swirling organic percussion and pianism of Fricke and the loping, often singing guitar lines that repeat hypnotically with rock & roll tension, the vocals of the amazing Djong Yun become the catalyst for the other musicians to spiral off into extended improvisations…

As the title suggests, Japanese music explorer Osamu Kitajima takes the listener beyond the known on a musical voyage into new territory where his compositions are a synthesis of Western electronics and ambient dance rhythms, tempered by the wisdom of ancient Japanese traditions. "Beyond The Circle" is music that is as energizing as it is spiritual and melodic.

Get Up is the thirteenth studio album by Canadian singer-songwriter Bryan Adams, released physically in Australia and New Zealand on October 2 and worldwide on October 16, 2015 by Universal Music. Produced by ELO frontman Jeff Lynne and co-written with his long-time collaborator Jim Vallance, the album features nine new songs and four acoustic versions (total 13 tracks). The first song released was a video of "You Belong to Me". It was shot and directed by Adams using his black and white photography style, with only his guitar and “a muse” to assist him.

David Zinman’s Mahler cycle really hits its stride with this remarkable performance of the Third Symphony. It only has two small drawbacks worth mentioning. First, alto Birgit Remmert sounds pretty good in her big fourth-movement solo, but she’s far less impressive during her brief contributions to the choral fifth movement. Perhaps this take came from another evening (the symphony was recorded during a series of live performances). Second, at the very end of the symphony, despite the very beautiful playing, the trumpets fail to ring out as Mahler’s score directs. Better this glowing sonority than stridency, but there’s no reason why we can’t have the best of both worlds (Haitink’s first recording with the Concertgebouw on Philips never has been surpassed in this respect).

Mackerras’s series of opera recordings, with the Scottish Chamber Orchestra, has a character very much its own, deriving from his natural feeling for the dramatic pacing of Mozart’s music and the expressive and allusive nature of its textures, as well as the Scottish Chamber Orchestra’s sensitivity and responsiveness to him. These are not period-instrument performances (except in that natural horns and trumpets are used, to good effect), but Mackerras’s manner of articulation, and the lightness of the phrasing he draws from his strings, makes it, to my mind, a lot closer to a true period style than some of the performances that make a feature of period instruments and then use them to modern ends (I am thinking less here of British conductors than some from Europe).

This recording of the 6th and 9th Symphonies is an interesting combination. The three-movement Sixth Symphony, with its brooding first movement, energetic second movement, and almost circus-like last movement, and the cheeky, almost light-weight Ninth. Note that I used the word "almost". Shostakovich manages to get pretty serious in places (the second and fourth movements come to mind here). That being said, the performances and recording of both works are first rate. There is no doubt that Mariss Jansons is a master interpreter of the music of Shostakovich.

Conventional wisdom holds that the Beatles intended Abbey Road as a grand farewell, a suspicion seemingly confirmed by the elegiac note Paul McCartney strikes at the conclusion of its closing suite. It’s hard not to interpret “And in the end / the love you take / is equal to the love you make” as a summation not only of Abbey Road but perhaps of the group’s entire career, a lovely final sentiment. The truth is perhaps a bit messier than this. The Beatles had tentative plans to move forward after the September 1969 release of Abbey Road, plans that quickly fell apart at the dawn of the new decade, and while the existence of that goal calls into question the intentionality of the album as a finale, it changes not a thing about what a remarkable goodbye the record is.

If it feels as if Honk treads familiar ground, it's because it does. Arriving seven years after the career-spanning Grrr! – a compilation available in a variety of iterations, all spanning from the earliest years to the 2010s – Honk focuses squarely on the music the Rolling Stones made after leaving London/Decca, a catalog that now resides with Abkco. In other words, its ground zero is "Brown Sugar," a staple that arrives just after "Start Me Up" kicks off the double-disc set. Such sequencing indicates how Honk bounces through the years, letting the '70s sit next to the '80s, finding space for latter-day songs that only showed up on previous greatest-hits albums (there have been five since 1984), and shining the spotlight on such excellent latter-day cuts as "Rough Justice."