Recorded on December 15, 1988, during the tour for Talk Is Cheap, Live at the Hollywood Palladium is a loose, groove-laden affair, featuring the best from Keith Richards' first solo album as well as some Stones classics – mostly tunes he took lead vocals on. Opening with "Take It So Hard," the first thing that hits the listener is the lack of the gloss that was probably the only drawback to Talk Is Cheap, which is a very good thing, because while the album was still leaps and bounds more real than, say, Dirty Work, this live collection is loose without ever getting away from the band, and has an organic feel not present in the Stones' work since the early '70s. Rockers like "Whip It Up" and "Struggle" swagger, while Sarah Dash shines on "Make No Mistake" and "Time Is On My Side."

This 2013 anthology of the British synth pop group Visage is essentially an expanded edition of 1983's Fade to Grey: The Singles Collection. In 1993, it was rebranded under its current title Fade to Grey: The Best of Visage with the addition of two more tracks ("Love Glove" and "Fade to Grey [Bassheads 7" edit]"), both of which have been jettisoned from the 2013 version, along with the fantastic new romantic album cover and a handful of other tracks. So what makes the updated set noteworthy? Well, there are a couple of BBC versions of "The Anvil" and "Can You Hear Me?" and dance mixes of the sleek "Mind of a Toy," the guitar-heavy "We Move," and their early post-disco single "Frequency 7."

2016 two CD collection of recordings by the former Rolling Stones bassist, both solo and with his Rhythm Kings. With all the tracks chosen by Bill Wyman himself, these two CDs present the perfect introduction to his recordings. Disc One contains songs from Bill's solo albums, kicking off with '(Si Si) Je Suis Un Rock Star', his big hit from 1981, as well as the follow-up hits. Disc Two features songs from Bill's Rhythm Kings, the ten-piece band with revolving guest stars that he put together in the 90s after leaving the Rolling Stones, as well as tracks from Willie And The Poor Boys, Bill's 1985 all-star side-project. The guest stars include Eric Clapton, George Harrison, Jimmy Page, Paul Rodgers, Georgie Fame, Peter Frampton, Chris Rea, Gary Brooker, Andy Fairweather Low, Charlie Watts, Dr John, Joe Walsh, Van Morrison and many more. The booklet lists who plays what on every track, along with annotation by Tony Rounce.

From the sweet to the salacious to the poignant, Maria Muldaur's eponymous, strong debut features savvy studio vets, talented guests, strong tunes, and Muldaur's lissome pipes. The outstanding players include Ry Cooder, David Grisman, Clarence White, and Mac Rebennack, better known as Dr. John. A tasteful guitar solo by the underrated Amos Garrett elevates the charming surprise hit single "Midnight at the Oasis." Although she later gravitated to jazz and gospel, Muldaur's first outing is heavy on songs derived from country and blues. A rousing "Work Song," borrowed from Kate & Anna McGarrigle, is only one of several highlights.

In Holland in the 1720s the transverse flute enjoyed considerable popularity among amateur musicians. Aware of that keen interest, the publisher Michel Le Cene decided in 1729 to present his customers with the very first collection of concertos for flute and orchestra. Vivaldi responded to his request by refurbishing several older works. Only one of them was already in the modern concerto form: the Concerto in F major for recorder and strings. Another four pieces were hybrid in form and still close to chamber works. The predominant role of the recorder or flute in those four concertos made them ideal for adaptation.

The present album, number nine in Eric le Sage’s valiant Schumann edition, is devoted to the trios with piano, a favourite formation of the 19th Century that combines the economy of chamber music with the prestige of instrumental music. He is accompanied by regular partners Gordan Nikolitch and Christophe Coin with a guest appearance from Paul Meyer on clarinet for Op. 56.

The oratorio La decollazione di S. Giovanni Battista by Antonio Maria Bononcini is a worthy representative of the little-known tradition of oratorios in the Italian language composed at the Hapsburg court, a tradition which was quite widespread between the second half of the seventeenth and the first three decades of the eighteenth centuries. This genre, now considered to be an appendix of the opera, played instead a significant role in the religious-musical events of the imperial court, where Italian culture in general and the language itself represented more than mere aesthetic models.