Design of a Decade: 1986-1996 is a misleading title. The bulk of Janet Jackson's greatest-hits collection concentrates on Control and Rhythm Nation 1814, simply by contractual necessity. That is far from a fatal flaw. The hits from those two albums were state-of-the-art dance-pop productions at the time of their release, filled with bottomless beats and memorable, catchy hooks. None of the songs has lost any of its impact, from the funk of "Miss You Much" and "What Have You Done for Me Lately," to the ballads "Let's Wait Awhile" and "Come Back to Me." In addition to all 13 Top 40 hits from Control and Rhythm Nation – all but one went into the Top Five – Design of a Decade includes the biggest and best hit from janet., the sultry "That's the Way Love Goes," and two new songs, "Runaway" and "Twenty Foreplay." It's a credit to Janet that the two new numbers feel like genuine hits, not tacked-on filler, and help make the album a compulsively listenable greatest-hits collection.

Another Country is the twenty-ninth studio album by British singer-songwriter Rod Stewart. It was released on 23 October 2015 through Capitol Records. It was produced by Stewart and Kevin Savigar. Stewart released his twenty-eighth studio album, Time, in 2013. The album contained eleven songs written or co-written by Stewart. Commenting on Time, Stewart stated, "I've found that the only way to write songs is to be as personal and honest as possible, And when my last album was so well-received it gave me the confidence to keep on writing, and to examine and write about different things. It also gave me the freedom to experiment with different sounds like reggae, ska and Celtic melodies."

Recorded during Marc Bolan's U.S. visits during 1971 and 1972, Spaceball is the first full re-counting of four American radio sessions previously made partially available as a bonus LP within the Marc label's Till Dawn compilation in 1985. Eight songs, taped in L.A. in 1972, are reprised from that set; 11 more are collected here. The overall mood of the two CDs is sparse, but astonishingly dynamic, with the earliest session – taped for WBAI, New York, in June 1971 – especially remarkable. It opens with a pair of unaccompanied Bolan performances, previewing the as-yet-unreleased "Cosmic Dancer" and "Planet Queen." The guitar heavy "Elemental Child" follows, a surprising inclusion given the song's freak-out dynamics, but it's an effective piece, all the more so after bandmates Mickey Finn and bassist Steve Currie join in a few minutes into the song.

Years of struggle had turned Cold Chisel into one of Australian rock's all-time great bands – many would argue the greatest. But the years had also taken their toll and, by the early '80s, rifts had begun to drag on the band. Drummer Steve Prestwich called it quits in June 1983. Two months later, the band put out a press release saying it was disbanding and in December played its final concerts to sold-out audiences at the Sydney Entertainment Centre. The shows were filmed for the documentary Last Stand: this is the film's soundtrack and the cream of those concerts. Undoubtedly a chunk of Aussie rock history, this album also stands purely on the strength of its content.

Masur, who is far and away the best craftsman and the most sympathetic interpreter of these symphonies; moreover he has far and away the best orchestra at his command of all rivalling issues. I will merely draw attention to the majesty and inexorable propulsion of his No. 2, and the sheer exuberance of his rhythmic textures in No. 3, which also features a red-hot sensual climax for the slow movement of this symphony. The sound quality is not the best, judging by our standards; but it is clear, warm and natural, hardly subject to complaints.

Over time this recording becomes progressively more and more alive and beautiful. In my opinion, this recording by Hoeprich is a document -which at the time was unique and original- of his deep knowledge of Mozart's music.

Well into his golden years, Ahmad Jamal continues to tour and record with the vigor of a man half his age. What is also evident is that his artistic sense is as high as it has ever been, as he consistently doles out fresh new melodies charged by his extraordinary talent, which is hardly reined in.

Ahmad Jamal's minimalist style has served him well throughout his career, as he enjoys making frequent sudden detours in the midst of a performance, with his intuitive rhythm section able to adapt on the fly. His longtime bassist James Cammack and drummer Idris Muhammad are joined by Latin percussionist Manolo Badrena for these 2007 sessions.