The fall of the Berlin Wall in 1989 not only opened the border to the West for seventeen million East Germans; it also allowed art lovers and researchers to gain access to the rich cultural treasures housed in Central European museums and libraries. As director of Musica Antiqua Koln, Reinhard Goebel was constantly on the lookout for musical treasures from the Baroque for his ensemble to perform. So he did not mingle with the souvenir hunters along the length of the Berlin Wall but headed straight on the treasure trail to Dresden. It was here in the 18th century that culture had enjoyed a golden age unprecedented in Germany thanks to the tireless patronage of Augustus the Strong and his successor: an active building programme turned the Saxon capital into the Florence on the Elbe immortalized in the wonderful canvases by Bernardo Bellotto (Canaletto).

When the Hollies - one of the best and most commercially successful pop/rock acts of the British Invasion - began recording in 1963, they relied heavily upon the R&B/early rock & roll covers that provided the staple diet for countless British bands of the time. They quickly developed a more distinctive style featuring three-part harmonies (heavily influenced by the Everly Brothers), ringing guitars, and hook-happy material, penned by both outside writers (especially future 10cc member Graham Gouldman) and themselves, eventually composing most of their repertoire on their own. The best early Hollies records evoke an infectious, melodic cheer similar to that of the early Beatles, although the Hollies were neither in their class (not an insult: nobody else was) nor demonstrated a similar capacity for artistic growth…

Harold Mabern was nearing his 57th birthday around the time of the two 1993 studio sessions that provided the music for this Japanese release; he's clearly in a mood to celebrate, as the CD begins with a driving hard bop original, "Look on the Bright Side," powered by his aggressive risk-taking playing and fueled by a lower key solo by young bassist Christian McBride and a series of powerful drum breaks by seasoned veteran Jack DeJohnette. Although Mabern's arrangement of John Coltrane's "Moment's Notice" is enjoyable, it is because the rhythm simulates a jaunty stroll while the leader unleashes some pyrotechnics. Likewise, Charlie Parker's "Au Privave" is never rushed, but executed with finesse.

The New Orleans barrelhouse boogie piano specialist's earliest sides for OKeh, dating from 1940-1941 and in a few cases sporting some fairly groundbreaking electric guitar runs by Jesse Ellery. Dupree rocks the house like it's a decade later on two takes of "Cabbage Greens" and "Dupree Shake Dance," while his drug-oriented "Junker Blues" was later cleaned up a bit by a chubby newcomer named Fats Domino for his debut hit 78 "The Fat Man."

Minstrel in the Gallery was Tull's most artistically successful and elaborately produced album since Thick as a Brick and harkened back to that album with the inclusion of a 17-minute extended piece ("Baker Street Muse"). Although English folk elements abound, this is really a hard rock showcase on a par with – and perhaps even more aggressive than – anything on Aqualung. The title track is a superb showcase for the group, freely mixing folk melodies, lilting flute passages, and archaic, pre-Elizabethan feel, and the fiercest electric rock in the group's history – parts of it do recall phrases from A Passion Play, but all of it is more successful than anything on War Child.

Producers Clive Langer and Alan Winstanley, as is their wont, created a shimmering pop surface for Lloyd Cole and the Commotions' second album, Easy Pieces, sweetening the tracks with string and brass countermelodies and emphasizing the chiming highs of the guitar and keyboards for an attractive sound that echoed the earnestness of British bands like the Hollies and Herman's Hermits circa 1966. It was, of course, like sugarcoating cyanide capsules, given Cole's pleasantly sung lyrics, which detailed philosophical disillusionment, romantic discord, and, yes, at least attempted suicide. In the U.K., Easy Pieces was a Top Ten hit. But although the album saw something of a proper release in the U.S., and the Commotions toured extensively, no American breakthrough materialized.

The Donna Summer Anthology is a double compilation album by the American singer Donna Summer, released by Polygram Records in 1993. The compilation featured the majority of Summer's best known songs right from the start of her success to the present day. Summer had originally made her name during the disco era in the 1970s and in the decade that followed had experimented with different styles. Most of the tracks on this compilation are the original album versions of the songs, which were sometimes edited down for their release as a single. Included for the first time are two remixed tracks from her then previously unreleased I'm a Rainbow album, which had been recorded in 1981 but had been shelved by her record company at the time.

Forty years before recording this very interesting CD, keyboardist Sun Ra made his debut on records on a duet with violinist Stuff Smith, playing a haunting version of "Deep Purple." For this CD (one of Ra's final sessions) the quartet workout with violinist Billy Bang finds Ra doing a new version of "Deep Purple" and performing a variety of tunes associated with Smith. Actually, Ra was a bit hemmed in by the concept, and his conception of time was different than Bang's, so there is a certain amount of tension in the music. Also, Billy Bang has a much rougher sound and a freer style than Stuff Smith, but the end results are well worth hearing.

The Broadsword and the Beast is the 14th studio album by Jethro Tull, released on 10 April 1982 and according to Ian Anderson in the liner notes of the remastered CD, contains some of Jethro Tull's best music. It mixes electronic sound, provided by Peter-John Vettese (a characteristic that would be explored further on the next album Under Wraps), with acoustic instruments. The album is a cross between the synthesiser sound of the 1980s and the folk-influenced style that Tull had in the previous decade. The Broadsword and the Beast is one of Steve Hackett's favorite albums.

Smitty is unequivocally not mellowing with age. This set finds him physically threatening some poor slob in "Get Outta My Way" and generally living up to the boast of the title track. As his profile finally rises, Smith is receiving a little high-profile assistance - Ron Levy produced the set and handles keyboards, while the Memphis Horns add their punchy interjections wherever appropriate.

The first commercial gramophone recording of a German symphony after World War II was that of Karl Amadeus Hartmann's Foutrh Symphony for string orchestra under the derection of Franz André. More than fourty years later, this work once agains opens a complete studio recording of Hartmann's symphonie, now under Ingo Metzmacher.

Wood's mission was straightforward enough here: promote his album of the time, Slide on This, before raiding the Faces' treasure trove and solo standards like "I Can Feel the Fire" and "Am I Grooving You," the latter done with sassily funky aplomb. Don't expect any surprises; you know Wood's guitar will charge out front, with some type of Hammond organ or boogie-woogie piano banging away behind him. Anyone who got this album originally knew what they wanted and what they'd be getting. Four songs capably hoist the banner for Slide on This: "Testify," "Show Me," "Josephine," and the shimmering ballad "Breathe on Me," where vocalist Bernard Fowler truly excels.