We know Hendrix was influenced by Bob Dylan, as shown by his covers of "All Along the Watchtower" and "Like a Rolling Stone" (live at Monterey). On this star-studded live jam previously released as a bootleg called Sky High, it's obvious Jimi listened to other people, too. He opens "Red House" quoting from "Crossroads," the Cream take on a legendary Robert Johnson blues. Later, Hendrix plays a Beatles tune and further tips his hat to Eric Clapton by closing with the unmistakable "Sunshine of Your Love" riff. At times, Hendrix and Johnny Winter lock into an elemental force, although a seriously drunk Jim Morrison doesn't add much except obscenities. The drumming of Randy Z. for the first half and Buddy Miles the rest of the way produces renewed appreciation for Mitch Mitchell and the way his inventiveness meshed so well with Hendrix's brilliance…

The Pacific Age is the last OMD album to feature founding member Paul Humphreys (although The Best of OMD does collect a pair of subsequent singles). With producer Stephen Hague returning and guests Graham and Neil Weir elevated to full-time members, OMD aggressively targets the American pop market cultivated with Crush and the Top Ten single "If You Leave." With the Weirs' horns and a trio of female backing vocalists, the music on The Pacific Age sounds larger than life (the opening "Stay" in particular), a trait common to popular music in the mid-'80s. The added production value and better material represent an improvement over Crush, despite the opinion of some that The Pacific Age is a bland sellout. It's true that tracks like "(Forever) Live and Die," "Shame," and "Goddess of Love" are more style than substance, but it's a style that plays to OMD's mastery of melody and mood…

While Jealous is propelled by the scarily spare stomp of Hook's guitar, it has few standout moments. Instead, it is a consistent record, with few highs or lows - it's a standard contemporary blues album, without many peaks or valleys. Jealous may be a grittier record than its successor, The Healer, but it tends to fade into the background, making it one of his more undistinguished albums.

The Bridge is the tenth studio album by American singer-songwriter Billy Joel, released on July 28, 1986. It was the last studio album produced by Phil Ramone as well as the last to feature Joel's long-time bassist Doug Stegmeyer and rhythm guitarist Russell Javors. The album yielded several successful singles, including "A Matter of Trust" (peaking at No. 10), "Modern Woman" (which also appeared on the Ruthless People soundtrack, peaking at No. 10), and "This Is the Time" (peaking at No. 18). Joel began work on the album — on which two of his major influences (Ray Charles and Steve Winwood) made guest appearances — in 1985. Charles sang a duet with Joel on the song "Baby Grand", and Winwood played Hammond organ on the song "Getting Closer". Other notable musicians who made guest appearances on the album include jazz musicians Ron Carter and Michael Brecker, who both played on the jazzy track "Big Man on Mulberry Street."

By the time of 1986's Detroit Diesel, Alvin Lee had settled down somewhat. No longer were his songs simply showcases for his astonishingly fast technique, and he was able to open his blues jams into funky grooves. That doesn't mean that Detroit Diesel is a particuarly remarkable album, but it does have more enjoyable moments, such as the Stonesy "Too Late to Run for Cover," than the average latter-day Lee album.

Mike Stern's debut as a leader mostly features the high-powered guitarist heading a sextet also including tenor saxophonist Bob Berg, keyboardist Mitch Forman, bassist Mark Egan, drummer Dave Weckl and percussionist Dr. Gibbs. Altoist David Sanborn makes a guest appearance on "Goodbye Again," while "Mood Swings" features the quartet of Stern, Berg, electric bassist Jaco Pastorius (with whom Stern had worked in the Word of Mouth Orchestra) and drummer Steve Jordan. The guitarist wrote or co-wrote all six selections, which generally have viable chord changes. The playing mostly fits into the genre of funky fusion, with Stern's passionate guitar heard throughout in fine form.

Directing his finely honed ensemble of period-instrument performers from the harpsichord, Pinnock brought us music that makes its points through subtlety, charm and skillful manipulation of modest instrumental means.

Fables of the Reconstruction was intentionally murky, and Lifes Rich Pageant was constructed as its polar opposite. Teaming with producer Don Gehman, who previously worked with John Mellencamp, R.E.M. developed their most forceful record to date. Where previous records kept the rhythm section in the background, Pageant emphasizes the beat, and the band turns in its hardest rockers to date, including the anthemic "Begin the Begin" and the punky "Just a Touch." But the cleaner production also benefits the ballads and the mid-tempo janglers, particularly since it helps reveal Michael Stipe's growing political obsessions, especially on the environmental anthems "Fall on Me" and "Cuyahoga." The group hasn't entirely left myths behind – witness the Civil War ballad "Swan Swan H" – but the band sound more contemporary both musically and lyrically than they did on either Fables or Murmur, which helps give the record an extra kick. And even with excellent songs like "I Believe," "Flowers of Guatemala," "These Days," and "What if We Give It Away," it's ironic that the most memorable moment comes from the garage rock obscurity "Superman," which is sung with glee by Mike Mills.

Compiled by Chris Squire (in case you're wondering how "The Fish" made it this far upstream), Classic Yes was Atlantic's initial attempt to distill the band's best music. The key to this collection is in the title: this is the band's "classic" music. Anything prior to The Yes Album is cut out, no attempt is made to salvage snippets from Relayer or Tales from Topographic Oceans; Drama and Tormato are dispensed with…

Despite the fact that there are multiple recordings of Shostakovich's deeply moving Symphony No. 14, this rather old but remastered recording is unique in the quality of performance: Bernard Haitink conducts his Concertgebouw Orchestra and elected to use non-Slavic singers Julia Varady and Dietrich Fischer-Dieskau who in turn sing the poems in their original languages rather than the Russian translations used in the original premiere. The effect is staggeringly beautiful and if one must choose a single recording of this symphony, this would be the one that captures the essence of Shostakovich's vision.