Electric studio project with Billy Cobham and group of Italian musicians with guest appearances by Michael and Randy Brecker, Eddie Gomez, and even Gregg Brown from Osibisa. Billy lays down a solid groove and the musicians solo over and around the beat, through instrumental and vocal tracks. The group perform original jazz/funk/fusion material, and a new version of Billy Cobham's 'Red Baron' with vocals.

We switch from London to Denmark for this volume. Father and Daughter intricately mixes many solo voices and choir. The gaunt Kleine Variationen-forme is followed by the touching Song of Värmeland for choir. To a Nordic Princess is a lavishly grandiloquent piece first performed in the Hollywood Bowl as a love gift for his soon-to-be bride, Ella Ström. It verges on Richard Strauss at times. He was not averse to Strauss and wrote a piano Ramble on Rosenkavalier. There is an oddly subdued Stalt Vesselil. The very short choir piece Dalvisa is barely heard – a hummed vocalise. After such sensitivity comes the cheery The Crew of the Long Serpent.

Here Bachs Trio Sonatas BWV 525-530 for organ have been re-imagined in historically informed arrangements for baroque chamber ensemble, made in the spirit of Bach, himself a serial re-arranger of his own works. They are performed by the Tempesta di Mare Chamber Players, an early-music ensemble described by Fanfare as one of the finest in the world.

Double live albums were commonplace during the '70s, even for bands that weren't particularly good in concert. As a travelin' band, Lynyrd Skynyrd made their fame and fortune by being good in concert, so it made sense that they released a double-live, entitled One More from the Road, in 1976, months after the release of their fourth album, Gimme Back My Bullets. That might have been rather quick for a live album – only three years separated this record from the group's debut – but it was enthusiastically embraced, entering the Top Ten (it would become one of their best-selling albums, as well). It's easy to see why it was welcomed, since this album demonstrates what a phenomenal catalog of songs Skynyrd accumulated.

Alphaville’s greatest hits from 40 years of the band’s history, in completely new arrangements recorded with the German Film Orchestra of Babelsberg. Alphaville, Germany’s biggest synth-pop export and creator of the legendary 80s anthems “Big in Japan”, "Sounds like a Melody" and "Forever Young", has decided to go symphonic. The band is doing things on the grand scale and catapulting the band’s 40 years of greatest hits out of the orbit of synthesizers and rhythm machines into the world of the human sound machine, the symphony orchestra. "Eternally Yours" is more, much more, than a mere translation of the songs into the sound spectrum of a great orchestra. What it amounts to, rather, is a symbiosis of Marian Gold’s unique vocal capacities, the original Alphaville sound and the majestic power and rich timbres of the concert-hall-sized German Film Orchestra of Babelsberg.

The release of 2009's Endgame brings with it a startling realization: if first-generation thrash metal fans had been polled about which of the genre's "Big Four" - Metallica, Slayer, Anthrax, and Megadeth - would prove to be the most resilient and consistently prolific over the next quarter century, the only sure-fire consensus would probably have been "well, anyone but Megadeth!" And yet, 12 studio albums and 150-plus songs later - more than any of the other three have managed - that's exactly what's come to pass. It hasn't been easy, and it's rarely been pretty along the way, but despite a few weak efforts, mostly self-inflicted controversy, and no end to verbal diarrhea, none of those other platinum-busting thrash titans have been as productive as Dave Mustaine's bunch - all of which stands as a testament to the man's stubborn drive to prolong Megadeth's career against all odds…

The short-lived Gerry Mulligan sextet of 1955-56 recorded three albums before disbanding. This LP features baritonist Mulligan, trumpeter Jon Eardley, valve trombonist Bob Brookmeyer and Zoot Sims on tenor performing such songs as "Nights at the Turntable," "Broadway," "The Lady Is a Tramp" and "Bernie's Tune." Fun swinging music that is still quite accessible.

Chilly was a German Euro disco/rock band at the end of the 1970s and the beginning of the 1980s. Their most famous songs include hits like 'Friday On My Mind', 'Johnny Loves Jenny', 'Come to L.A.', 'Simply a Love Song', 'For Your Love' and 'Get Up And Move'. The Song "For Your Love" was originally written by Graham Gouldman (later of 10cc fame) and performed by the Yardbirds in 1965. Chilly's version was produced by the composer and author Bernt Moehrle, who created with this song a new standard in Disco music in the late 70s and early 80s. It remained on the Billboard dance club songs charts for 7 weeks peaking at number 38 in April 1979.

Chaos & Colour, the energetic and triumphant 25th studio album from British hard rock legends and progenators Uriah Heep, bristles with explosive classic rock guitars, supreme harmonies, and Heep's famously generous keyboard foundation. This deluxe edition includes a demo version of 'Save Me Tonight' as a bonus track. Led by founding member Mick Box, it is no surprise that themes of light, love and, ultimately, positivity are constant through the eleven tracks. Opener "Save Me Tonight" shows the band's weighty yet blistering chops, whilst "One Nation, One Sun" is a journey of soaring balladic contemplation.

One of the most fascinating recording projects of this period was Sir Roger Norrington's pioneering set of Beethoven symphonies with The London Classical Players. Here at long last–after a century and a half of neglect–was a conductor bravely determined to conduct these symphonies according to Beethoven's difficult metronome markings, and as played on the original instruments that Beethoven had composed for–that is, the very sounds that he must have had in his mind when he wrote this music down. Norrington astutely saw that Beethoven's original brass and percussion instruments play a crucially prominent role in these symphonies, and most importantly, that they cannot be tempered without diminishing the passionate intensity of the music itself.

Gossec made an important contribution to the development of French symphonic music and played a central role in Parisian musical life for almost three-quarters of a century. The opera 'Le Triomphe de la République' was composed in 1793 folowing the French Revolution and wonderfully demonstrates the musical movement that France experienced following the change in political climate. Music was recognized as a medium for the diffusion of new ideas and 'Le Triomphe de la République' was a case in point. It was written in the wake of popular enthusiasm at the news of the army's victory at the battle of Vlamy in 1792 against the anti-French troops led by the Duke of Brunswick. It features folk music and popular dances of the day reflecting a kind of life quite distinct from that of intellectual, aristocratic society.

In early 1966, with John Peel as producer, the Misunderstood went into Gold Star studio in Los Angeles to make some demos. Although the tapes have disappeared, an acetate of some of the songs still exists, from which eight tracks (two of which had previously been released) were rescued for reissue on the first disc of this double CD. Judged against their magnificent recordings in Britain in late 1966 (with slightly different personnel), it's a bit of a letdown. The group at this point were a competent but not extraordinary blues-rock act, offering competent renditions of standards by Howlin' Wolf, Muddy Waters, Jimmy Reed, and the like that only hinted at the originality that would blossom on their U.K. sessions. Indeed, the two tracks that have previously been available ("Shake Your Money Maker" and a wild, extended "I'm Not Talkin'" with ferocious distorted guitar breaks) are by far the best in the set…