Formula 3 (also spelled as Formula Tre) is an Italian prog-rock band, mainly successful in the early seventies. The group formed in 1969; produced by Lucio Battisti, they were the group that accompanied Battisti in his rare live concerts, and was originally made ​​up of Alberto Radius (guitars and vocals), Tony Cicco (drums and vocals) and Gabriele Lorenzi (keyboards). Their first hit was the song "Questo folle sentimento", which ranked fifth at the Italian hit parade in 1970, and which was followed by a series of top 20 hits, notably "Io ritorno solo" (third at the Italian hit parade) and "Eppur mi son scordato di te" (second at the Italian hit parade), all composed by the same Battisti.

Hits And Pieces The Best Of Marc Almond And Soft Cell traces Almond's singles career from Soft Cell through to his solo work and collaborations. Almond has always excelled at recording superb singles he has secured a body of work that encompasses truly outstanding originals, covers and duets. Highlights of Hits And Pieces include Tainted Love, What!, Say Hello Wave Goodbye, the Number One reaching Gene Pitney duet Something's Gotten Hold Of My Heart, his interpretation of Scott Walker's cover of Jacques Brel's Jacky with its epic kitchen sink production from Trevor Horn, a cover of Donna Summer's I Feel Love with, Bronski Beat, Melancholy Rose and Ruby Red from the Mother Fist album, a Tony Visconti produced nugget The Dancing Marquis, last year's superb The Velvet Trail, the glam stomper Varieté and another unforgettable cover in the form of The Days Of Pearly Spencer.

A pupil of Rubinstein and Tchaikovsky, and a teacher of Rachmaninov and Scriabin, Sergey Taneyev was a monumental figure in Russian music of the second half of the nineteenth century. Although highly independent as a mature artist, Taneyev was understandably under Tchaikovsky's influence during the early years of his career. His First Symphony, which can be compared to Tchaikovsky's Second, impresses with its seriousness, skilful orchestration, and a complete absence of virtuosity for its own sake. Written ten years later, the Third Symphony is a large four movement cycle. Its crowning glory, a scintillating Finale, shows Taneyev's contrapuntal prowess at it best.

The German composer Draeseke wrote four symphonies. All of them are now to be heard spread across three CPO discs played in a uniform edition by the NDR Radiophilharmonie conducted by Jörg-Peter Weigle. You can also hear a Wuppertal-based reading of the First Symphony coupled with the Draeseke Piano Concerto on MDG 335 1041.

In the 19th century, the first violin section in Dutch orchestras often contained amateur players. In fact, even the “orchestra associations” in Utrecht, Rotterdam and Amsterdam were not composed entirely of professional musicians, with a significant number of members being amateurs. This mixed line-up of musicians and a strong leaning towards German and French composers had a profound effect on the choice of repertoire, and a marked preference developed for programmes containing a large number of short and contrasting pieces. This explains the success of the overture, a genre that included both the compressed piece of orchestral foreplay to an opera as well as independent pieces.

Astral Weeks is generally considered one of the best albums in pop music history, but for all that renown, it is anything but an archetypal rock & roll album. It isn’t a rock & roll album at all. Van Morrison plays acoustic guitar and sings in his elastic, bluesy, soulful voice, accompanied by crack group of jazz studio players: guitarist Jay Berliner, upright bassist Richard Davis, Modern Jazz Quartet drummer Connie Kay, vibraphonist Warren Smith and soprano saxophonist John Payne (also credited on flute, though that’s debatable—some claim an anonymous flutist provided those parts).

This is where fans of the group can sort of stop and settle down at last. MCA Records had previously let the Mamas & the Papas' music out on CD in a trickle; the debut LP was upgraded and a compilation of remastered hits showed later in the decade, but the rest was left to languish. This two-CD set makes up for that neglect, assembling all four of the quartet's '60s albums on two CDs and augmenting them with the mono single versions of "I Saw Her Again," "Words of Love," and "Creeque Alley," plus the non-LP single "Glad to Be Unhappy." One just wants to luxuriate in the sound of this reissue and its little details, like the rhythm guitar on "Do You Want to Dance" that cuts right through the air, the string basses on "Go Where You Want to Go" that sound like they're just across the room, and the rest of the first album.

Cut as the Beatles were disintegrating and released shortly before the group's final album, Let It Be, Ringo Starr's debut solo album was a collection of pre-rock standards dating from the 1920s to the '50s, sung over orchestral tracks arranged by everyone from fellow Beatle Paul McCartney and Bee Gee Maurice Gibb to jazz veterans Quincy Jones and Oliver Nelson. Starr brought a good-natured, nearly humorous tone to his vocals, perhaps because he wasn't trying to compete with the classic pop stylists most identified with these songs, but only to express his nostalgic affection for the material. Coming more than a decade before the fad for standards albums by rock-era pop stars like Linda Ronstadt, the album was taken not as a career move, but as a highly eccentric and expensive novelty of a kind only Beatles could afford to indulge. In retrospect, it remains harmlessly charming, if unexceptional.

Released to coincide with Stevie Nicks' solo induction into the Rock & Roll Hall of Fame – she is the first woman to be inducted twice, once with a band, once as a solo act – the retrospective Stand Back: 1981-2017 is available in three distinct forms. First, there's a deluxe edition with either three CDs or six LPs, divided by a disc of solo hits, a disc of collaborations, and a disc of live material buttressed by contributions to film soundtracks. Second, there's a digital version containing 40 of the triple-disc's 50 tracks, with a single-disc collection of hits bringing up the rear. Of the three, the latter is the most user friendly, containing all of her big hits along with live versions of Fleetwood Mac's "Dreams" and "Gold Dust Woman."

The Last Set at Newport is a 1971 live album by Dave Brubeck and his quartet recorded at the 1971 Newport Jazz Festival, shortly before a riot ensued. The album peaked at 16 on the Billboard Top Jazz Charts. The album was reviewed by Scott Yanow at Allmusic who wrote that "The Dave Brubeck-Gerry Mulligan quartet is heard in a very inspired performance at the Newport Jazz Festival, just a short time before a riot by the audience closed the festival. These versions of "Take Five" and "Open the Gates" are memorable, but it is the extended "Blues for Newport" that is truly classic." Yanow wrote that the musicians "…constantly challenge each other during this exciting performance, making this set well-worth searching for."