The album that was Manfred Mann's commercial breakthrough was a departure from the previous albums made with the Earth Band. Though the personnel are the same and the musicianship is as mind-blowing as ever, the songs are shorter and punchier, in some cases more poppy. This is not to say that the band had sacrificed a bit of ingenuity or complexity, but the long jams are gone in favor of briefer sound portraits. Nightingales and Bombers included Manfred Mann's first cover of a Bruce Springsteen song, the album-opening "Spirits in the Night," a single that charted, and became one of the only pieces written in 10/4 time ever to do so.

Points on the Curve is Wang Chung's second album and first album since changing their name from Huang Chung and switching from Arista to the Geffen record label. It reached #30 on the Billboard 200 album charts on 14 July 1984 and features the #1 dance single "Dance Hall Days" and includes the hit singles: "Don't Let Go", "Don't Be My Enemy" and "Wait".

An album led by guitarist Rick Laird, but a set that's probably equally noteworthy for the presence of tenorist Joe Henderson on a few tracks – who really shines here in an overlooked late 70s session! The core group is great enough – as Laird has these round, classic jazz guitar tones that slide in with soulful beauty next to the piano and Fender Rhodes of Tom Grant – and when Henderson's not around, Grant's solos are especially great – and really have this lyrical power that grabs us right away, and almost makes us forget the presence of Joe! But then Henderson comes back with that subtle edge of his – similar to his playing on the Mirror Mirror record – a raspy tone that really deepens the whole proceedings. Henderson produced the record, and plays on the tracks "Outer Serge" and "Tranquility".

Living Proof documents an IQ concert from May 1985 recorded for the British television series Live From London. The LP edition was released without the band's consent (or knowledge) and bore poor sound quality, and was deleted in 1987. Giant Electric Pea (a label managed by IQ members) reissued it with improved sound quality in 1992. This is a good performance. Most of the material comes from the then-recently released The Wake; six of the album's seven tracks are included. These songs differ very little from the studio recordings, but "Outer Limits" gets extra value in terms of punch, and overall this album provides an opportunity to hear how the material translated into a live setting.

This is useful, and confounding. This is truly a Blue Öyster Cult singles comp, but not in the usual sense. Over 20 tracks, it rounds up BÖC singles released all over the world, which keeps it from being just another best-of. For instance, take the final cut: "Astronomy." This is not the original released on Secret Treaties but the redone version issued on Imaginos issued in 1988 and a single distributed only in the U.K. and Holland. And so it goes with this thing. Many of these cuts were issued as singles in the United Kingdom, or in Japan ("Moon Crazy," "Flaming Telepaths") or Europe, marked by the inclusion of tracks like the live read of "We Gotta Get Outta This Place," released in Germany as a single, or "Fallen Angel," released in Spain.

This limited edition presents three outstanding albums by Víkingur Ólafsson in a box set including additional fan content and deluxe packaging. With three albums on Deutsche Grammophon so far Ólafsson is known as one of the most exciting pianists of today and widely acknowledged for his “individuality of spirit and intelligence of execution” (Limelight Magazine).

The Heart of Chicago 1967-1997 is a greatest hits album by American rock band Chicago and was released in 1997. It was compiled to commemorate the group's 30th anniversary of their formation. The idea was to bridge their two eras - the James William Guercio/Columbia Records period of the 1970s and the David Foster/Warner Bros. Records period of the 1980s - on one CD. In addition, the band added two new songs, "The Only One" produced by Lenny Kravitz - a big fan of Chicago, and another, "Here In My Heart" by James Newton Howard. Both of these new tracks were successful in the adult contemporary market; "Here In My Heart" topped the AC charts, and "The Only One" was a top 20 AC hit.

Sharron Kraus' sophomore effort Songs of Love and Loss follows and diverges from the path she carved out on Beautiful Twisted. Echoes of Shirley & Dolly Collins flit about, but there is no derivative strain in the proceedings. Kraus' more plaintive voice is the perfect balance for her songs, which are laden with the kind of gloomy spirit that drives people to dwell on love's passing and absence rather than its gifts – or perhaps, as evidenced by Kraus' tomes here, this wondrously dark creativity is its gift in an offhanded way. The album was recorded in Oxford with her band that includes Colin Fletcher on bass, Jon Fletcher on banjo and guitar, and cellist and fiddle player Jane Griffiths as welll as a number of stalwart guests including Jeffrey Alexander and Jon Bowden. Kraus is both heartbreakingly sweet and sad and deliciously grim, such as on the harrowing "Song of the Hanged Man," where tropes and stereotypes explode without flinching and move into a quiet but tense and cacophonous melody adorned with squeezebox, banjo, and shimmering, clanging steel noises that is delightfully unsettling.

An integral member of the nonpareil Muddy Waters band of the 1950s and '60s, pianist Otis Spann took his sweet time in launching a full-fledged solo career. But his own discography is a satisfying one nonetheless, offering ample proof as to why so many aficionados considered him then and now Chicago's leading post-war blues pianist.

Undeniably unique and inspirational to generations of DJs and producers, Swiss electronic pioneers Yello return with their 14th studio album, POINT. Musically, POINT takes the classic Yello sound of records like Stella, One Second and Flag and twists it into something ultra-modern. It’s part spy film, part Dali-painting, part strobe lit dance floor, part 4D car chase and part deep space torch song. It’s Yello, absolutely on point.

Albums of reworked pop and jazz classics released in November bear warnings of creative resignation and commercial opportunism. Seal, however, evidently entered the historic Capitol Studios and United Recording more delighted than a kid in a candy store who just had his braces removed. Going by his liner notes, in which he raves about performing with a 65-piece orchestra, cutting the set, his first for Republic, had an invigorating effect on him. Conducted and arranged by Grammy nominee Chris Walden, Standards was recorded with first-rate studio veterans, some of whom worked with Nat King Cole and Frank Sinatra.

Howard Shelley’s light touch, fresh and colourful orchestral playing, and excellent recording, make this very well worth hearing on its own account, not simply as a rediscovered rarity.

Francois Couperin 1668-1733. Gli incogniti, Early Music Ensemble, Amandine Beyer (violin). When he published his two Apotheoses in memory of two great masters of music in 1724-25, Couperin was asserting his desire to promote a meeting of the French and Italian styles, from a very Gallic point of view, naturally. The idea was to convince the French muses that henceforth one could say sonade and cantade in their language, a strategy already persued in the much earlier La Sultane and La Superbe. But, far from blindly imitating his idols, Couperin takes inspiration from their styles and adapts them to his own brio. The results is a delight for all to share with the musicians of Gli incogniti and Amandine Beyer who's debut Harmonia Mundi label recording this is.