British electronic/new age musician David Wright was born in 1953. He has released numerous records both solo and with the groups Callisto and Code Indigo that display a wide range of influences - he spent his formative years in the Far East. Working primarily in the electronic realm - he founded his own label, AD Music, in 1989 - Wright peppers his impressionistic compositions with rock, jazz, classical, and worldbeat flavors, resulting in an instrumental smorgasbord of diverse moods and colors that has been favorably compared to Kitaro, Mike Oldfield, and Vangelis.

First aired ten days prior to the release of Girl on Fire, Alicia Keys' VH1 Storytellers program featured six songs. While this set expands the set to 11 songs, it does not present the full performance. Heavy editing was involved; certain portions of Keys' dialogue re hacked up, crowd noise is unnaturally lowered and raised in volume, and there is little evident effort to make the songs flow. Keys' first words here, the lead-in to "No One," are "We were at the end of the album, and it was finished, and…" – so it provokes the feeling of walking into the venue as the gig is in progress.

This blues-roots rock supergroup of sorts features musicians bred, if not always born, in the South. The only real royalty would be singer/songwriter/percussionist Cyril Neville, who shares lead vocals with younger but still established blues-rock journeymen guitarists Mike Zito and Devon Allman. Bassist Charlie Wooton from Zydefunk and ex-Derek Trucks drummer Yonrico Scott comprise the solid rhythm section rounding out this quintet. With all this instrumental and vocal firepower, the musical possibilities of mixing Neville's familial, funky New Orleans swamp with Zito's soulful blues and Allman's tougher rock are enticing.

It's quite difficult to find a young person who knows about the Scorpions. Even when their careers were peaking in the '80s, they were never widely recognized, existing always as more of an underground band. The lack of hit singles produced by the group is by no means a judgment of its talent, however, as Deadly Sting: The Mercury Years proves. Some may find the fact that Mercury made the compilation a double-disc set surprising – again due to the band's small following – but the album is far better than the single-disc collection Best of Rockers 'n' Ballads.

Magnum II is the eponymous second studio album by the English rock band Magnum. It was released in 1979 on Jet Records. Magnum II followed on from the success of Magnum's debut album, Kingdom of Madness. The album was produced by former Ten Years After bass player Leo Lyons, who had success with producing Phenomenon, Force It and No Heavy Petting for UFO. As with their debut album Kingdom of Madness, much of the material on Magnum II was already written and had already been previewed in Magnum's live set and were suitably "road tested". The album, however failed to chart on its release in October 1979. Both "Changes", released in September 1979, and "Foolish Heart", released in November 1979, were singles.

Born in Hungary, Végh studied violin under Hubai and composition under Kodály at the Liszt Academy of Music from 1924. He made his debut as a violinist in 1927 under the baton of Richard Strauss, and after graduating from the academy in 1930, he began performing as a soloist and formed the Hungarian Quartet in 1935, remaining with the quartet until 1940, and also performed in the premiere of Bartók's String Quartet No. 5.

Recorded in 2007 by Yannick Nezet-Seguin and the Orchestre Métropolitain, La Mer garnered five stars from the French magazine Diapason, which declared, “What is immediately apparent in Yannick Nézet-Séguin’s Debussy is its meticulousness, its almost chamber-music like transparency, and its subtle shading.” Pierre Mercure’s Kaléidoscope was also praised for its “formidably contrasted reading …Under Yannick Nézet- Séguin’s baton, the work’s constantly shifting emotional limate combines tragic grandeur with the most cheerful lightness.”

Bach’s three Sonatas for Viola da Gamba and Harpsichord, BWV 1027-29 have been variously dated, either to Bach’s Cöthen period, where as Kapellmeister he was responsible for all instrumental music, and had at his disposal a small but outstanding ensemble of musicians, or to the later period in Leipzig, when he was occupied with the Collegium Musicum. These intensely expressive and often technically demanding, yet intimate works have the usual texture of Bach’s instrumental sonatas, with two upper parts supported by a bass part.

With this eagerly anticipated complete recording of Philip Glass’s Études, Vanessa Wagner offers far more than an album: it is a testament to the deep bond she has forged with a body of piano music that now straddles the twentieth and twenty-first centuries. Her reading is embodied, exacting, and profoundly lived-in.

After recording some of Bach’s major works, Claire-Marie Le Guay continues her exploration of the boundless territories of the composer by taking a more intimate approach. The doors to these masterpieces are left ajar, and the pianist is modestly sketching the personal history of her relationship with Bach’s music. She offers us the keys to a universe rich in colours and contrasts: a diversity that rhymes with eternity.

With “Colors” producer Roland Voss (alias Lemongrass) unveils a vibrant collection of 10 Lo-Fi Chill pieces – each one a hue on an ever-shifting canvas of sound. This album feels like a slow exhale after a long day, a gentle immersion into a world where melody flows like watercolor and rhythm moves like a quiet heartbeat.