Although there are those who nail their spirals to Vertigo as the prog label of choice, EMI’s Harvest certainly vies with it for pole position. With Harvest, the detail was everything. Loaded with the bizarre, striking and the strange, turns abounded like the Third Ear Band, Kevin Ayers and The Greatest Show On Earth. From the bad acid of Edgar Broughton’s There’s No Vibrations, But Wait through the squiffy majesty of Dave Mason’s You Shouldn’t Have Took More Than You Gave, to Be- Bop Deluxe’s future pop of Jet Silver and the Dolls Of Venus, this collection is impressive and nostalgic – its very lack of a house style providing its consistency.

Remixed & Revisited is a remix album by American singer and songwriter Madonna. It was released on November 24, 2003 by Maverick Records and Warner Bros. Records. The album contains four songs, in remixed form, from her 2003 ninth studio album American Life and a previously unreleased song, "Your Honesty", originally written and recorded for her 1994 sixth studio album Bedtime Stories. The other tracks included are the live performance of "Like a Virgin" and "Hollywood" on the 2003 MTV Video Music Awards—which ended with Madonna kissing co-performers Britney Spears and Christina Aguilera—and a remix of 1985 single "Into the Groove". The release peaked at number 115 on the Billboard 200 in the United States. It received mixed reviews from critics; "Your Honesty" was generally the only song to receive praise. The remix album also marked the closing release under her contract with Maverick Records.

Romeo and Juliet is such a perfectly conceived masterpiece (perhaps the finest symphonic poem ever written) that when it is presented with a fair degree of ardour it cannot fail to make its effect. Chailly's view is a romantic one. He secures an excellent response from the Cleveland players as he does in Francesca, especially in the beguiling middle section (notably from the principal clarinet). But he treats this epic piece like ballet music and the passionate final climax, when the lovers are discovered, sounds like a grand pas de deux.

Bohemian-German composer Jan Ladislav Dussek, 10 years older than Beethoven and a major influence upon him in the realm of keyboard music, is known mostly for that keyboard music and for his chamber music with keyboard. This set of three string quartets from late in his career has apparently never been recorded before. Dussek confidently asserted to an English publisher that "they are neither in the Stile of Mozart, of Haydn, nor that of Pleyel, they are in the Stile of Dussek, and I hope will make some noise in the Musical World."

Little can be as momentous for a work as it's encounter with an extraordinary interpreter. And today - there's no doubt about it - Fauré has found his voice in that of Cyrille Dubois. A bright, clear timbre and impeccable diction undoubtedly contribute to the remarkable complicity that we witness, but it's secret lies above all perhaps in the French tenor's singular ability to convey an atmosphere, evoke an emotion, a feeling, a mood - in short, bring out all the poetic qualities of the music.

Robert Wyatt has been quoted as declaring that this record was "a conscious attempt to make un-misusable music," i.e., music that couldn't be appropriated by the right or broadcast on Voice of America. VOA doesn't broadcast uncommercial music such as this in any case, but Wyatt did succeed in stating some of his political concerns - imperialism, the carnage in East Timor, the flaws of rigid political ideology – in an understated manner. He went back to writing his own material for this album, after having focused on eclectic "covers" in the early '80s, with fair success. It's perhaps an even moodier outing than usual for Wyatt, his melancholia amplified by the foggy, spooky keyboards.

After forcing their eclectic but often scattered sonic experiments to extremes of self-indulgence on albums like Tuonela and Am Universum (both of which still offered the odd great song, mind you), Finnish heavy metal godfathers Amorphis found their way back to songwriting consistency and economy on 2004's acclaimed Far from the Sun. A surprisingly focused amalgam of past and present, that album marked a measured return to Amorphis' heavy metal roots after years of apparent disownment, and set the stage for yet another compelling LP in 2006's even more unapologetically metallic Eclipse. Not that either one of the records could be called a death metal slugfest, nor a complete abandonment of those not-always-stellar but still necessary forays into other progressive musical realms, but rather mature and well-balanced statements, acknowledging the style that made the band famous in the first place…