Mari Takano, from the standard publicity photograph she uses, looks like a soccer mom ready to go out on a date with her husband, taking a phone call in the kitchen before she heads out the door. Nothing in the photo would give you the impression that Takano is a venturesome and fiercely original classical composer who has studied with Brian Ferneyhough and György Ligeti.

For Earth Below, the third studio album by British guitar legend Robin Trower was released in 1975 and is considered one of his most prominent works from his time as a solo artist after leaving Procol Harum. For Earth Below continued to build on the success of his previous album Bridge of Sighs, solidifying him as an arena touring artist in the States,reaching number 5 on the Billboard chart.

Released in late 1970 on the heels of two chart-topping albums, Hot Buttered Soul (1969) and The Isaac Hayes Movement (also 1970), Isaac Hayes and the Bar-Kays retain their successful approach on those landmark albums for To Be Continued, another number one album. Again, the album features four songs that span far beyond traditional radio-friendly length, featuring important mood-establishing instrumental segments just as emotive and striking as Hayes' crooning. Nothing here is quite as perfect as "Walk on By," and the album feels a bit churned out, but To Be Continued no doubt has its share of highlights, the most notable being "You've Lost That Lovin' Feelin'." The album's most epic moment opens with light strings and horns, vamping poetically for several minutes before Hayes even utters a breath; then, once the singer delivers the song's orchestral chorus…

There is no doubt Buck Owens and His Buckaroos were one of the biggest acts in the world from 1964–1974. Not only were they topping the music charts, they were filling concert halls worldwide. They were such a popular concert draw that many performances were recorded and released only in the corresponding foreign market. Unfortunately, much of that material never saw the light of day outside the country in which it was released. Until now.

It's understandable to label '90s Bruce Springsteen as a lost era. The Boss disbanded the E Street Band in 1989 and his only long-players during that time—Lucky Town, Human Touch and The Ghost of Tom Joad—marked an "experimental" turn away from arena rock. (Releasing three albums in ten years seemed especially like a slowdown since two came out on the same day in 1992.) Of course, that overlooks his soundtrack work—which earned him an Oscar and multiple Grammys—his steady touring throughout the decade (culminating in the E Street Band's return in 1999), and the fact that he and his wife were raising young children. Still, from 1993-2002, when The Rising debuted, there was precious little Springsteen to pore over.

By early 1975, the flame was quickly fading out for the Ritchie Blackmore era of Deep Purple. Discontent with the overtly funk-based direction the group had recently embraced on such releases as Burn and Stormbringer, Blackmore's focus had shifted to launching a solo career. But the "Mark III" lineup of Purple certainly went out with a bang, as evidenced by the release of their last ever show together, Live in Paris 1975. Issued via the fan-operated label Purple Records (which specializes in, you guessed it, strictly Purple-related recordings), the album is an honest reflection of pre-punk/early-to-mid-'70s arena rock concerts. In other words, Live in Paris 1975 is a double-disc set, but only consists of nine songs total, as it is loaded with extended soloing that will test the patience of the average fan but will delight the hardcore Purple buff. Included are the expected Purple favorites: "Smoke on the Water" and "Space Truckin'," which stretch past 19 minutes and 21 minutes respectively in duration. Also featured are such latter-day standouts as "Stormbringer" and "Lady Double Dealer," which are included as much more streamlined renditions when compared to the aforementioned tracks. For those wanting to sample classic Purple on-stage, Made in Japan is still your best bet. But if you're looking for a live follow-up, Live in Paris 1975 is a worthy snapshot of David Coverdale-fronted Purple – warts and all.

Celebrating his half-century as a Decca artist, as well as his eighty-fifth birthday, Sir Georg Solti here offers a nicely autobiographical collection of three sets of variations: the Peacock Variations of Kodaly representing his Hungarian roots, the lively Paganini Variations of Blacher a recognition of his years as German citizen, and finally a tribute to his unique Britishness in Elgar's Enigma Variations. The disc is also a tribute to the Vienna Philharmonic and Solti's special relationship with that orchestra, with whom he recorded these live performances in the Musikverein last April. You have only to compare this warmly expressive, subtly nuanced, and deeply felt account of the Elgar with Solti's earlier Chicago version of 1974 to appreciate not only the quality of this great Viennese orchestra, but the way in which Solti has mellowed over the last two decades.

Reverberations is the 14th album by Russian-born jazz trumpeter Alex Sipiagin, released by Criss Cross Jazz, the album features a sextet of long-time collaborators, including Will Vinson on saxophone, John Escreet on piano, Makar Novikov on bass, Donald Edwards on drums, guest vocalist Aubrey Johnson, with Sipiagin leading. The repertoire blends original compositions with reinterpretations of jazz classics, showcasing Sipiagin's intricate arrangements and the ensemble's cohesive interplay.

Viktoria Mullova and Ottavio Dantone turn in smashing performances of Bach's six sonatas for violin and harpsichord, plus two additional items: a transcription of Trio Sonata No. 5 (for organ/clavichord) and the Sonata in G for Violin and Continuo BWV 1021. Bach's violin sonatas use the "church sonata" form; that is, they usually have opening slow movements and no quick movements modeled on dance forms. They are also unique in that they are in fact true duets between the right hand of the keyboard player and the violin, rather than solo works in which the violin sings while the harpsichord accompanies with the continuo part.

It is mentioned in almost all biographies of Johann Sebastian Bach: Bach was part of a large family of musicians and at festive gatherings the musical gifts were used to increase the revelry. We know, for example, an occasional piece by Bach about the departure of a brother, in which the wailing of the family who stayed behind, the dangers of the journey and the sound of the post horn (as a sign of the departure of the stagecoach) are portrayed in a humorous way.

The Borodin Quartet plays the music of its namesake as to the manner born. Theirs is a beautiful, lush realization of this lyrical work, polished and full of nuance, and well-served by the 1980 analog recording. The coupling with Borodin's First Quartet is especially attractive.

Three classic albums: The World Starts Tonight (1977), Natural Force (1978) and Goodbye to the Island (1981).
Recognized for her distinctly raspy voice and soulful pop repertoire, Welsh singer Bonnie Tyler had her first worldwide hit in 1978 with "It's a Heartache" from her second album, Natural Force. Characteristic of her work in the '70s, it blended elements of country, rock, and pop.

late night drive home are releasing their debut album as "I watch my life". A criticism of their adolescence always existing in the shadow of the internet, the 13-track offering codes together vignettes of mistaking online connection for something real. With their success outgrowing the bedrooms they used to create in, late night drive home’s debut album is the first time they’ve worked in proper studios. And with this growth, we see them move from the indie-rock bucket to a more expansive, electronic realm.

Calling Shepherd Moons a near carbon copy of Watermark puts it quite mildly. Like Watermark, Shepherd Moons opens with the title track, a calm instrumental, has another brief instrumental titled after a Dora Saint book smack in the middle ("No Holly for Miss Quinn"), and concludes with a number incorporating a striking uilleann pipes solo, "Smaointe…." In general, Enya's own musical style and work remains the same, again assisted on production by Nicky Ryan and with lyrics by Roma Ryan. Shepherd Moons does have one key factor that's also carried over from Watermark - it's quite good listening. Though the total continuity means that those who enjoy her work will again be pleased and those who dislike it won't change their minds, in terms of finding her own vision and sticking with it, Enya has increasingly polished and refined her work to a strong, elegant degree…

Freddy Lindquist was a veteran of several Norwegian beat bands before embarking on his solo album in 1970. Moving on to heavy rock he produced an album in the classic vein of Cream and Taste - the comparison being even more apt as the addition of two help-mates made the band into a trio. The guitar-work on the opener 'Sundae Sellers' is very Clapton-influenced, although in no way just a copy-cat, and the jazzy 'Green And Pink Little Man' shows Lindquist is equally at home with hard rock. 'Shakaro' is a flute-led instrumental which nicely breaks up the album, before 'How Nice' re-introduces the guitar as the lead instrument for it's own showcase. A heavy, heavy version of Los Bravos' 'Black Is Black' - done a la Vanilla Fudge - is one of the highlights of the album, but Lindquist's own offerings like 'Women Running Around' and 'Join In And Freak Out' are equally fine, and make this a truly excellent album…