In 1970, Creedence Clearwater Revival were one of the most popular bands in the world. Since releasing their debut album just two years prior, the group had been on a nonstop tear of writing hits and prolifically releasing new material, consistently landing in the upper reaches of the charts as the Woodstock generation came into being. By the time CCR embarked on their first European tour in April 1970, their last two albums had cracked the Top Ten in the U.S., they had multiple singles getting constant radio airplay, and the Beatles had just announced their breakup, making room for this hardworking group from El Cerrito to take their place as the biggest band in all of rock.

Originally this compilation was released in 1964 as "The Beatles Featuring Tony Sheridan - The Beatles' First." The title of this compilation has varied many times over the years but they are all based on the original 1964 Polydor release with the same track listing and running order. Most of the tracks feature vocals by Sheridan. The album includes all eight of the Beatles' first pro recordings made in '61 and '62 in Germany as Tony Sheridan's backing band plus four of Tony's tracks with the Beat Brothers!

The Music for Lovers series from EMI and Blue Note spotlights the balladic nature and romantic side of artists who have recorded for its associated labels. Nancy Wilson may not get her due as a jazz vocalist, but as a romantic balladeer she has few peers, with a voice that communicates romance and sensuality. The 12 selections come from her best albums, including 1961's The Swingin's Mutual! (with the George Shearing Quintet), Yesterday's Love Songs/Today's Blues from 1963, and But Beautiful from 1969.

Whether you view them as dynamic rock & roll rulers or overblown Radiohead knock-offs, it's hard to contend with Muse's strength as a live act. H.A.A.R.P. shows the band strutting its stuff in front of a sold-out audience at Wembley Stadium, with a set list that relies heavily on 2006's Black Holes and Revelations but still dips into the band's back catalog. The accompanying DVD gives a flashy, glitzy face to the music, and the refreshing lack of lightning-fast camera editing helps boost it above the band's previous CD/DVD combo, Hullabaloo Soundtrack. Still, the audio disc holds up quite well on its own, both for its crystal clear sound quality as well as the band's confident performance. Muse's intricate, electronics-laced material isn't the easiest thing to replicate in a live setting, but H.A.A.R.P. sounds as sharp as the band's studio albums, with Matthew Bellamy often adding different guitar flourishes…

"The Musician's Musician". "The Master of the Eclectic". There are probably a dozen more titles by which this "guitar player" is known. To even refer to him as a guitar player is probably a gross mislabeling of this musician. He defies any sort of categorization; this is his greatest strength and for some his weakness. The theme for these nine cuts is rhythm of all different ilk. I won't even give the parameters because he seems to have none. I wondered how many different instruments he played on this album (I thought I counted five different types of guitar); it only says guitar and vocal for his credits. Listen to his version of "All Shook Up," more bop and rhythm than Elvis could put into four of his songs. It seems musicians line up to play with him, and they feel he did them a favor by letting them play on his albums. He always gives them plenty of space to do what they do. This CD will make the dead start tapping their toes.

Pianist Gene Harris' 1992 quartet (with guitarist Ron Eschete, bassist Luther Hughes, and drummer Harold Jones) explores ten wide-ranging selections on this CD. But despite the very different chord changes, they are able to infuse the music with so much soul that the results are consistently bluesy. Among the tunes that Harris and his group explore are Horace Silver's "Strollin'", "Until the Real Thing Comes Along," "Jeannine", "You Make Me Feel So Young", and "Wrap Your Troubles in Dreams". An excellent effort.

“For Mahler,” Sir Simon Rattle has said, "the symphony is where you can tell the most important truths.” The composer’s works have been crucial to his career – indeed, it was the epic Symphony No. 2 that first inspired him to become a musician. Spanning nearly two decades, these recordings of the complete symphonies, including Deryck Cooke’s completion of No. 10, were made with the two ensembles most closely identified with Rattle’s name: the City of Birmingham Symphony Orchestra and the Berliner Philharmoniker.