Recorded across two shows with the Royal Liverpool Philharmonic Orchestra in October 2018.
Orchestral Manoeuvres in the Dark are one of the earliest, most commercially successful, and enduring synth pop groups. Inspired most by the advancements of Kraftwerk and striving at one point "to be ABBA and Stockhausen," they've continually drawn from early electronic music as they've alternately disregarded, mutated, or embraced the conventions of the three-minute pop song. Outside their native England, OMD are known primarily for "Maid of Orleans" and the Pretty in Pink soundtrack smash "If You Leave," yet they scored 18 additional charting U.K. singles in the '80s alone. These hits supported inventive albums such as Orchestral Manoeuvres in the Dark (1980), Architecture & Morality (1981), and commercial suicide-turned-cult classic Dazzle Ships (1983)…

It's strange that a band with a song as immediate as "All Right Now" is a bit of an acquired taste, but it's the truth. Free was a powerful, majestic hard rock band at their peak, but they were also a little obtuse; a lot of their power came from their playing, and their songwriting was epic, but often elliptical. As such, they're for hard rock connoisseurs – a band who gained a spirited, dedicated following largely because they took devotion to unlock their treasures, especially in the years following their breakup. For those fans, the five-disc Songs of Yesterday is a godsend. This is not a box for listeners with less than a consuming interest in the band (even if you think you want total immersion in Free, this will not be as effective as purchasing each of their albums) since this contains a wealth of unreleased material. Very few of the tracks are actual album tracks, most are alternate mixes or alternate versions, plus there are a lot of live tracks in the mix, as well.

This second instalment in the ongoing complete Ferdinand Ries symphony cycle with the Tapiola Sinfonietta and conductor Janne Nisonen includes the composer’s 4th and 5th symphonies. Although numbered as the composer’s fifth, the D minor symphony dates from 1813 and was his second symphony to be completed. The symphony was Ries’ debut with the London Philharmonic Society which was to be an important influence in his career for the next eleven years after he had settled in the city. The first performance of the symphony was a major success and, according to a review, ‘This [symphony] is one of those works which announce the genius of its author.’ Ries was being favourably compared to the likes of Haydn, Mozart and Beethoven. Ries’ Symphony No. 4, Op. 110 was composed in London in 1818 but, for reasons unknown, did not achieve a similar success to that of his 5th Symphony.

Mirare presents another fine recording by the talented ensemble Les Ombres, led jointly by group members Margaux Blanchard and Sylvain Sartre. Baroque music combines violence and gentleness, unity and plurality. This disc dedicated to the myth of Semele and Icarus combines music by Marin Marais, André Cardinal Destouches and George Frederic Handel.

First off, Kenny Wayne Shepherd was 33 years old at the release of this album, so he’s not a kid playing hot guitar anymore, he’s a grown man doing it. And he does play a hot lead guitar – that, in a nutshell, is what he does. But over the years he’s also learned that the blues isn’t just about blazing lead licks, it’s also about letting the song say its say – and on Live! In Chicago he does that. This is a concert full of songs and not just a bunch of guitar leads broken up by someone singing for a bit. Shepherd is also fully aware of the history of the blues and he honors some of his heroes here by playing with blues legends like Hubert Sumlin, Willie “Big Eyes” Smith, Bryan Lee and Buddy Flett and he doesn’t step all over them with his guitar playing – he supports them. The concert grew out of the tour Shepherd put together in support of 10 Days Out: Blues from the Backroads project, a DVD/CD documentary that featured Shepherd traveling around the country on a ten day trip interviewing and playing with icons from the blues world, including the surviving members of Muddy Waters' and Howlin' Wolf's bands, making this show, recorded at the House of Blues in Chicago, a kind of culmination.

Swedish composer Ture Rangström (1884–1947), a contemporary of Sibelius and Nielsen, was largely self-taught and defiantly independent in his approach to symphonic composition. Though well versed in counterpoint and sonata principles, Rangström largely rejected these techniques in favor of his own, which emphasized content over form, and drama over development. While there’s no doubting the dramatic and narrative power of the music, the lack of true counterpoint (his themes are not harmonically interrelated or contrasted, but rather blatantly juxtaposed) makes them ultimately unsatisfying as symphonies but perfectly suitable, as, for example, film scores, or as multi-movement symphonic poems (poets were his main inspiration).