These previously unreleased live recordings from Lucerne present Sir András Schiff with two composers rarely found in his discography or concert programmes: Domenico Scarlatti and György Kurtág. Though separated by centuries, both are masters of musical miniature. Although Schiff had already engaged with Scarlatti during his student years, the Baroque composer gradually disappeared from his repertoire. In Lucerne, he returned to Scarlatti with renewed insight, performing thirteen carefully selected sonatas in a dramaturgically shaped sequence. In response to the live setting, Schiff plays with bold risk-taking, vivid characterisation, and an acute sensitivity to sound. From György Kurtág's Játékok ("Games") - a diary-like collection of piano miniatures - Schiff presents an equally curated selection, incorporating suggestions made by Kurtág himself.

Given that Kill to Get Crimson follows Mark Knopfler's yearlong collaboration with Emmylou Harris – inaugurated by the album All the Roadrunning and followed by a tour, subsequently documented on the live set Real Live Roadrunning – it might be reasonable to presume that it bears a slightly heavier folk influence, as if Emmylou had rubbed off on the guitarist. And that's true to a certain extent: "Heart Full of Holes" has an old-timey carnivalesque lilt to its middle section and "Secondary Waltz" is simple, low-key two-step driven by accordions, while "The Fish and the Bird" is a spare allegory that recalls old folk tunes, as does the stately grace of "Madame Geneva's."

After Saint Etienne's 35-year excursion through pop, International is their final album-length statement. A dreamlike drift with friends and collaborators, International features cameos from the higher echelons of pop — 80s chart heroes, electro, acid house and all points in-between — from Vince Clarke to Nick Heyward, Confidence Man to Erol Alkan, Chemical Brothers, Orbital, Doves and Xenomania, through to the lesser known, but equally exhilarating Augustin Bousfield and Flash Cassette.

Paavo Järvi and the Estonian Festival Orchestra pay tribute to Arvo Pärt, who celebrates his 90th birthday in 2025. The Estonian composer has been part of Paavo Järvi's life since childhood: "Arvo was, for me and my sister, my father's hip friend. He wore a baseball cap, jeans and a denim jacket". The history of the Järvi family is intimately linked to Pärt's work, since it was the now legendary concert in which Neeme Järvi — Paavo's father — conducted Pärt's Credo in 1968 that caused the Soviet regime to blacklist the Järvi family and precipitate their departure from Estonia. Credo is also included in this vast programme that covers 45 years of composing. What lies behind this music’s simplicity and depth? One answer possibly lies in a remark that Pärt made in London during a rehearsal with Paavo: "I have the impression that the orchestra doesn't like this chord enough". The transformation that then occurred was incredible; the same notes, when played "with love", sounded completely different.

The Long Run is the sixth studio album by American rock group the Eagles. It was released in 1979 by Asylum Records in the United States and the United Kingdom. This was the first Eagles album to feature bassist Timothy B. Schmit, who had replaced founding member Randy Meisner, and the last full studio album to feature Don Felder before his termination from the band in 2001. This was the band's final studio album for Asylum Records. It also turned out to be their last studio album during their original tenure, as the Eagles disbanded in 1980; even though they reunited in 1994, they did not release another studio album until 2007's Long Road Out of Eden. The album was certified 7× Platinum and has sold more than eight million copies in the US.

The Band’s first album, Music from Big Pink, seemed to come out of nowhere, with its ramshackle musical blend and songs of rural tragedy. The Band, the group’s second album, was a more deliberate and even more accomplished effort, partially because the players had become a more cohesive unit, and partially because guitarist Robbie Robertson had taken over the songwriting, writing or co-writing all 12 songs. Though a Canadian, Robertson focused on a series of American archetypes, from the union worker in “King Harvest (Has Surely Come)” and the retired sailor in “Rockin’ Chair” to, most famously, the Confederate Civil War observer Virgil Cane in “The Night They Drove Old Dixie Down.”

According to party line, neither Beck nor Geffen ever intended Mutations to be considered as the official follow-up to Odelay, his Grammy-winning breakthrough. It was more like One Foot in the Grave, designed to be an off-kilter, subdued collection of acoustic-based songs pitched halfway between psychedelic country blues and lo-fi folk. The presence of producer Nigel Godrich, the man who helmed Radiohead's acclaimed OK Computer, makes such claims dubious. Godrich is not a slick producer, but he's no Calvin Johnson, either, and Mutations has an appropriately clean, trippy feel.

Out of This World, released in 1983 on the Polydor label, is the fourth album by English jazz-funk band Shakatak. After the success of ‘Night Birds’, which peaked at No.4 in the UK album chart and subsequently went Gold, and the follow-up album ‘Invitations’, which also achieved Gold status and yielded a Top Forty single, Shakatak’s by now huge fan base eagerly awaited the group’s next offering. Shakatak responded with ‘Out of this World’, recorded during summer 1983. The most immediately apparent aspect of ‘Out of this World’ is Shakatak’s move into a heavily produced style of pop; whilst the band’s essential jazz and funk elements were still in place, clearly a decision had been made to align their material with what was happening in the charts.

VDGG's second step on the mid-'70s comeback trail saw Peter Hammill attempting to meld the introspective and the cosmic throughout, though this did not stop him from taking a dead run at a grandiose concept or two – the consequences of immortality on the title track, and the grand fate of humanity on the epic "Childlike Faith in Childhood's End." The theme of humane cooperation informs the opening "Pilgrims," while "La Rossa" is an epic tale of desire fulfilled (a story that would be concluded on Hammill's solo album, Over). The true highlight, however, is the beautiful, pensive "My Room (Waiting for Wonderland)," with its echoes of imagination and loss. Hammill did not achieve such a level of painful beauty again until "This Side of the Looking Glass" on Over.