A Classic Case is an album by Jethro Tull, playing with the London Symphony Orchestra, released in 1985. The music was arranged and conducted by David Palmer, who had been a member of the group from 1976 to 1980. The album features band members Ian Anderson, Martin Barre, Dave Pegg and Peter-John Vettese. The album was recorded during the summer of 1984 at the CBS Studios in London. It was released on 31 December 1985 in the United States, where it reached #93 in the charts.

This album is either the latest example of a classical label prostituting itself in search of a larger audience, or a legitimate attempt at crossover within an orchestral pops vein, given added appeal through the presence of the Roger Dean cover graphics and the near-suppression of the Telarc identification. The "classics" done up in 60-piece orchestral majesty include "Born to Run," "Tears of a Clown," "Superstition," "Hey Joe," "Ain't No Mountain High Enough," "I Heard It Through the Grapevine," "God Only Knows," and "The First Time Ever I Saw Your Face" (which hardly belongs here, as the product of Scottish songwriter Ewan MacColl).

Marianne Faithfull doing Melanie Safka doing Marianne Faithfull is what you get when Mick Jagger's ex-girlfriend performs on a majestic version of "Ruby Tuesday" backed up by the London Symphony Orchestra. It's a reunion of sorts for Jagger and Faithfull, as the lead singer of the Rolling Stones follows his ex with a similar version of "Angie," with deeper textures than the original pop hit. This release is a worthwhile addition to the Rolling Stones' catalog of music. Sure there are "symphonic" albums of music by Creed, the Beatles, Depeche Mode, heck, even Symphonic Star Trek, but this package, all in black with silver ink, of course, is something special. "Angie" is downright eerie. Perhaps the late Michael Hutchence wasn't the best choice to open up the voices, beginning with his rendition of "Under My Thumb," but at least he's not awful…

While the symphonies of Ralph Vaughan Williams continue to enjoy performances in concert halls and recording studios, some of his lesser well-known works languish. Such is the case for the 'Concerto Grosso for String Orchestra', a magnificent work for large ensemble that probes the depths and heights of Vaughan Williams powerful orchestration skills as well as any of the symphonies.

The 14-song set features the world-renowned singer-songwriter’s new performances of many of his best-loved hits, accompanied by the London Symphony Orchestra.

With Sam Shepherd’s Floating Points project moving further away from the dancefloor and former status as king of Plastic People with every release, it seemed like only a matter of time before he made a record with an orchestra and a free-jazz luminary. From that point of view, then, the music on Promises – a single, 45-minute semi-minimalist quasi-concerto for saxophone backed by various keyboard instruments and a string orchestra recorded in what appears to be a single, live, and rather spine-tingling take – is not a huge surprise. From the point of view of how much can be done with such sparse foundations, how to bring together fairly disparate musical worlds, and how captivating a recording can be, though, Promises is astonishing.