For most artists recording a Christmas record is a convenient stop-gap in between releasing new material. In Peter Cetera's case this doesn't ring true as it has been a while since we last heard from one of soft rock's most distinctive crooners. You Just Gotta Love Christmas brings to the table everything you'd expect from a Peter Cetera record: lush, pleasant arrangements with crisp, warm, polished production and able musicanship from a crew of veteran session players. It's a mix of holiday favorites mixed in with a few originals and some guest appearances from Alison Krauss and Peter's daughter Claire; who is more than up to the task of singing with her father on two of the album's 12 tracks. Cetera and Chicago fans will no doubt enjoy having this on in the background during the holidays.

After pursuing a Rolling Stones-styled blend of rock and country elements on their first two albums, Nazareth segued into a harder rocking style with 1973's Razamanaz. The resulting album has a lot of energy and drive and much of this can be credited to Roger Glover's production, which tempers the group's tendency to experiment with different musical styles by imposing an overall sound that play's up the group's hard rock edge. The end result is an album that rocks consistently throughout but works in intriguing musical elements to keep things interesting.

Hermann Max and the Rheinische Kantorei set out on new paths toward the interpretation of Bach's motet cosmos. The present CD also includes the Motets BWV Anh. 159 because Bach scholarship has come to regard these works, long ascribed to Johann Christian Bach, as compositions by Johann Sebastian Bach as they clearly bear his musical signature.

Concerto Köln – the silver-toned Rolls-Royce of period ensembles – handles this journey with suave style and flawless control…Valer Sabadus makes for a refined Farinelli, and where his smoky voice lacks in power, it gains in agility. He breezes through the coloratura arias, with their virtuoso roulades and vertiginous leaps…He really shines, though, in the more intimate arias.

This recording features Vespers music of the type that was performed on high church holidays in 17th-century Rome. Carefully and knowledgeably compiled by Bernhard Pfammatter, the pieces on this world-première recording afford us an acoustical image of Vespers music, a form that was then strictly regulated by its liturgical function within the Vespers service.

Proud Words On A Dusty Shelf (1973). This is the solo debut of Uriah Heep's resident keyboardist and top songwriter, but it isn't the heavy metal epic one might expect. In fact, Proud Words On A Dusty Shelf uses electric guitar sparingly and instead goes for a moody soundscape built on acoustic guitar and piano. Songs like "Black Hearted Lady" and "The Last Time" even evoke a bit of a country and western feel, thanks to their use of mellow-sounding slide guitar. This subtle sonic style puts Hensley's songwriting in the spotlight and that is a good thing because each of the songs is well-crafted and tuneful: a subtle combination of acoustic guitar and synthesizer brings out the haunting, delicately crafted melody of "From Time To Time" and "Black Hearted Lady" effectively evokes its mood of heartbreak with a descending acoustic guitar riff…

ABBA's fifth album was a marked step forward for the group, having evolved out of Europop music into a world-class rock act over their previous two albums, they now proceeded to absorb and assimilate some of the influences around them, particularly the laid-back California sound of Fleetwood Mac (curiously, like ABBA, then a band with two couples at its center), as well as some of the attributes of progressive rock. That they did this without compromising their essential virtues as a pop ensemble makes this album seem even more extraordinary, though at the time nobody bothered to analyze it - The Album was simply an incredibly popular release, yielding two British number one singles in "The Name of the Game" and "Take a Chance on Me" (which made the Top Five in America, their second-best showing after "Dancing Queen")…

Explodes with fresh, inspired takes on lowdown juke joint romps, gut-wrenching blues, tear-jerking soul and modern blues rock. Birchwood’s raw, urgent vocals and sparkling guitar and lap steel playing drive the music, and the songs are simultaneously fun and thought-provoking. "Don’t Call No Ambulance is the remarkable debut album by young guitarist/singer Birchwood. He is a powerhouse player and emotive performer whose work respects blues tradition but could not be more contemporary. His band, his material, and both his skilled guitaring and soulful vocals are the essence of fully-formed; Birchwood is a major player.

Cornetist Nat Adderley is in excellent form on his live sextet set but he is somewhat overshadowed by his two altoists: Vincent Herring and especially the explosive Sonny Fortune. With pianist Rob Bargad, bassist Walter Booker and drummer Jimmy Cobb offering stimulating support, Adderley and his men perform a pair of lengthy standards (a 15-minute "Yesterdays" and an over 20-minute "Autumn Leaves") plus Jimmy Heath's "Big P." and Fortune's "For Duke and Cannon." The long solos are consistently inventive and colorful, making this an easily recommended Nat Adderley CD.

It’s been almost a decade since Casey Crescenzo brought The Dear Hunter - both the band and the character of the same name - to life with his 2006 debut full-length, Act I: The Lake South, The River North. This record revealed Crescenzo’s incredibly inventive and ambitious musical flair, something which has been evolving ever since. The two albums which followed - 2007’s Act II: The Meaning Of, And All Things Regarding Ms. Leading and 2009’s Act III: Life And Death - cemented the artist as a maverick, idiosyncratic talent whose music, while fitting a modern aesthetic, was also from a bygone era. Act I/Act II: This is the story of a boy, from his creation to his untimely end; from the beautifully rapturous to the truly tragic. The Dear Hunter sings of something to which we can all relate: lust, deceit, greed, and hunting…

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.