It all starts here for Radio Massacre International. That most creative English band that almost single handedly brought back the Berlin School trio format back to prominence. All three perform on a raft full of analog keyboard equipment (mellotron, Moog's, etc…), while one doubles up on electric guitar. Sound familiar? Sure it does. Not that RMI was content to just sit in that same zone, as many of their albums followed other trends of German Kosmische, but primarily RMI were all about sequencer and atmospheric mid to late 70s Tangerine Dream. And the double CD Frozen North is the perfect place to start . We are talking 2 hours and 15 minutes of Encore meets Rubycon. Not a mere copy, but rather a completely unique take on a classic sound. To say it is essential for fans of Berlin School elektronik music would be understating the matter.

On his debut album, Randy Newman sounded as if he was still getting used to the notion of performing his own songs in the studio (despite years of cutting songwriting demos), but apparently he was a pretty quick study, and his second long-player, 12 Songs, was a striking step forward for Newman as a recording artist. While much of Randy Newman was heavily orchestrated, 12 Songs was cut with a small combo (Ry Cooder and Clarence White take turns on guitar), leaving a lot more room for Newman's Fats Domino-gone-cynical piano and the bluesier side of his vocal style, and Randy sounds far more confident and comfortable in this context. And Newman's second batch of songs were even stronger than his first (no small accomplishment), rocking more and grooving harder but losing none of their intelligence and careful craft in the process…

With a little delay following the issue of a complete set of violin works, Supraphon came with the sequel to that title in the "hommage a Zdenek Fibich" series, presenting a new recording of the complete quartet output of this Czech neo- Romantic composer who has so far failed to get all the interest he would rightfully deserve. The considerable creative challenge involved in this project was taken up here by the experienced Panocha Quartet, which was once again, after its account of Dvofak's early quartets, offered a golden opportunity to place its high artistic repute in the service of asserting music which may lie on the margins of the mainstream repertoire, yet whose values are thoroughly unmistakeable.

Several years after the original art rock supergroup Colosseum disbanded, drummer Jon Hiseman formed Colosseum II, a more jazz fusion-oriented outfit featuring guitarist Gary Moore (Thin Lizzy) and keyboardist Don Airey. Their eclectic debut, Strange New Flesh, shows some impressive chops from all involved, with an emphasis on Moore's soulful guitar leads. Vocalist Mike Starr, while not an immensely engaging singer, does a nice job keeping up with Hiseman and bass player Neil Murray. Highlights include the technically showy but blissfully irreverent ode to Pink Floyd, "Dark Side of the Moog," a nice version of Joni Mitchell's "Down to You," and the funky "Gemini and Leo."

Busted is the eleventh studio album released by Cheap Trick, which was released in 1990 and peaked at number 44 on the US album charts. After the success of "The Flame" from the previous album Lap of Luxury, the band recorded Busted with a similar format, especially on the single "Can't Stop Fallin' Into Love." The single peaked at number 12 on the US charts. Guest musicians on the album include Mick Jones of the band Foreigner (guitar on "If You Need Me"), Chrissie Hynde from Pretenders (vocals on "Walk Away"), and Russell Mael of Sparks (vocals on "You Drive, I'll Steer"). Session musician (and former member of Poco) Kim Bullard played keyboards on the album. The album was certified Gold in Canada in November 1990.

Blueprints is a sort of second- or third-generation go at the blues. American Blues Exchange, it seems, were influenced more by the British blues-based bands and American rock bands of the San Francisco acid-rock variety, which were spinning blues changes in completely new, non-blues directions, than by straight blues itself. More than competent players, the band had a burning dual-guitar attack in Roger Briggs and Don Mixter, and when used as the foundation of the songs such as "Ode to the Lost Legs of John Bean" and the fabulous blues rave-ups that explode in the middle of "On Solitude" and "The Taker," American Blues Exchange create excellent, tension-filled rock full of an intensity that doesn't have to stand in comparison to the blues because it is removed from the genre.

Released just after George left Apple for his own Dark Horse label (and appearing in stores just in time for the Christmas season of 1976), The Best of George Harrison neatly splits into a side of Harrison solo hits and a side of his Beatles tunes. This is the only solo Beatles hits compilation to rely so heavily upon Fab Four recordings, which is a good indication of how George didn't rack up as many charting singles as John, Paul, or Ringo, but having the Beatles tunes here does paint a fuller portrait of Harrison's work as a singer/songwriter, even if it makes the collection somewhat less useful – after all, most listeners would want a George Harrison compilation to focus on his solo recordings, not the Beatles' hits they already have.