Recorded in Nashville, Tenn. , and produced by four-time Grammy winner Keb' Mo', the blues influenced album features guest appearances from Kenny Wayne Shepherd, Robben Ford and Keb' Mo'. A trending theme in today's world is women overcoming obstacles and breaking through the glass ceilings to reach the top. 'Like It On Top' celebrates those that take initiative, develop, inspire and motivate. But it also credits the men who are motivated and enlightened enough to support women in their quest to be their best versions of themselves.

With its fourteen fugues and four canons, all of which are derived from the same thematic germ cell, J. S. Bach’s "The Art of Fugue" contains within it a veritable cornucopia of constructional variants. In his own Studies, Reinhard Febel takes apart the constituent elements of Bach’s work and reassembles them in completely new ways, occasionally opening up the musical material and allowing it to range over the entire keyboard.

Violinist Daniel Hope spent his period of social distancing by performing chamber concerts from his living room in Berlin online and for Arte Concert with specially invited guests. Deutsche Grammophon is proud to present Hope@Home the album, a selection from this ground-breaking series of livestream events which attracted a combined audience of 2,5m viewers, to be released on 14th August. This album is a document of these extraordinary weeks. Everything you hear is live, one take only. Some pieces were rehearsed, others were not. In some cases Christoph Israel finished the arrangements literally minutes before we went live.

Last November, Beck released his 14th studio album, the evocatively-named Hyperspace. Now the veteran songwriter has sought to visualize these songs as actual hyperspaces with help NASA’s Jet Propulsion Laboratory. The result is Hyperspace: A.I. Exploration, an out-of-this-world collaboration that combines music, data, video, and, of course, artificial intelligence.

These two slightly later efforts are actually more consistently interesting than the duo's first two albums, mostly because they stop trying to sound like the Beatles or the Everly Brothers, and sound more distinctive and soulful - that's doubly true of the material off of the True Love Ways album. They rely more on their voices, which show more flexibility - P&G were never going to be blues singers, but they're far less embarrassing and more directly attuned to what they're singing here, which includes Otis Blackwell's "All Shook Up" and Leadbelly's "Good Morning Blues." The results are sometimes successful within the context of the duo's work; "Cry to Me" is a good cover and one of their better records of this era, even if the Rolling Stones did it better, and their cover of Smokey Robinson's "Who's Loving You" is astonishing. The sound is consistently good-to-excellent, though the notes are sketchy.

Ax Genrich is a master guitarist from Berlin, Germany. He played with The Lords, Agitation Free, Guru Guru, RIF and many others and belongs without any doubt to one of the key persons of Krautrock music within the last 40 years. 1973 he became the best guitarist of Germany. "Highdelberg" is Genrich's first solo venture originally from 1975. Along for the ride are Mani Neumeller from Guru Guru, Jen Fride (Kraan), Peter Wollbrandt (Kraan), Helmut Hattler (Kraan), Deiter Morbius and Achim Roedelius (Harmonia, Cluster).

If there's any problem with More Than a Woman, Toni Braxton's fourth album, it's that it's so consistent, so much a continuation of its predecessor, The Heat, that it may be hard to pinpoint distinctive characteristics. Unlike that album, it lacks a single as undeniable as "He Wasn't Man Enough," yet much of this album is in a similar sexy spirit. It also doesn't have any ballads as seductive as "Un-break My Heart." In fact, few of the songs stand out, yet that doesn't mean they're bland or generic. They're simply cut from the same cloth and fit well together, particularly since they're given a nice, stylish production that's rarely flashy.

The first of two Classics CDs to reissue the master takes of all of pianist Tiny Parham's recordings as a leader contains more than its share of gems. Parham is heard as co-leader of the Pickett-Parham Apollo Syncopators (which features Leroy Pickett on violin) and also heading his "Forty" Five (a quintet that includes trombonist Kid Ory and a guest vocal from blues banjoist Papa Charlie Jackson). However, the bulk of the CD is by Parham's Musicians, a septet with either Punch Miller or Ray Hobson on cornet, and (starting on Feb. 1, 1929) the atmospheric violin of Elliott Washington. The clever and unpredictable arrangements, along with an impressive series of now-obscure originals, made Parham's ensemble one of the most underrated bands of the era…