Brothers Lee and Sam King bring us this splendid flaming CD. Their blues will burn and rip deep inside you with a tremendous passion. This Texas blues is very much influenced by legendary Texan musicians who unfortunately have passed away like Freddy King and Albert King, but also they pay homage to Big Joe Turner or Shakey Jake Harris.

Issued in 2008, this three-disc box set, compiled by Rhino Records and available only at Barnes & Noble, presents the first solo albums released by Peter, Paul & Mary following the famous folk trio’s 1970 break-up. While Peter Yarrow and Mary Travers offered up PETER and MARY, respectively, Noel Paul Stookey cheekily entitled his record PAUL AND, also managing to score a significant hit with the elegant, nuptial-themed “Wedding Song (There Is Love).”

Tenor saxophonist Buck Hill spent most of his prime years working as a mailman in the Washington, D.C., area and occasionally playing jazz at night. He was already a veteran when he began recording in 1978 and, fortunately, his legacy has been well documented ever since. A thick-toned tenor, Hill has a style that is boppish and looks both toward swing and hard bop simultaneously. Joined by a fine, if obscure, Washington-based rhythm section, Hill performs five of his basic originals and four standards on this date, including "Blue Hill," a lyrical "But Beautiful," a cooking "I Want to Be Happy," and a melodic rendition of Duke Ellington's "Warm Valley." This CD is an excellent example of Hill's musical talents.

Under Mahan Esfahani’s hands—and occasionally fists—the harpsichord is transmogrified into an elemental force, by turns supported or menaced by an astonishing arsenal of electronics. Concerned listeners please note: no harpsichords were harmed in the making of this album.

Regarded in his day as equal to Handel and Telemann, Reinhard Keiser composed more than one hundred operas, of which Fredegund , set partly in German and partly in Italian, was one of the most popular. It explores the politically volatile relationships between the sixth century Frankish king, Chilperich, whose ambitious mistress Fredegunda is prepared to use magic to become his queen, although Chilperich is betrothed to Princess Galsuinde and Fredegunda also has a secret relationship with Langerich. This important and entertaining German Baroque opera abounds in melodious, often ravishingly orchestrated, music.

The new recording by recorder player Dorothee Oberlinger with violinist and countertenor Dmitry Sinkovsky shows the musical turn of time from the Renaissance to the Baroque in a kaleidoscope of newly conceived, experimental declamatory music by Italian masters, who for the first time expressed passions such as love and hate, grief and joy, astonishment and longing in music to the fullest.

Written and conceived during a period of inner-band turmoil, Clutching at Straws would prove to be Fish's swan song, and perhaps Marillion's most unheralded masterpiece. Teaming up once again with producer Chris Kimsey, Clutching at Straws showcases some of the band's most satisfying compositions, including the magnificent "Warm Wet Circles" and "That Time of the Night (The Short Straw)." Bookended by Fish's disgust with not only himself, "Torch Song," but also with the burgeoning neo-Nazi uprising in Europe, "White Russian," the great Scot delivers an inspired condemnation. The commercial pomp and circumstance of "Incommunicado" also gives way to a self-parodying confessional inspired by Fish's inability to see himself as a bona fide rock star and celebrity ("I want to do adverts for American Express cards, talk shows on prime time T.V.")…

If you've never heard the music of George Crumb before, you are in for a treat. Well, treat may not be exactly the right word; perhaps "an experience" would be a better way to put it. Written in 1970 and 1974, Crumb's Black Angels: Thirteen Images from the Dark Land for electric string quartet and Makrokosmos III: Music for a Summer Evening for 2 amplified pianos and percussion are the classical music equivalent of psychedelic rock.

For part of Air's Pocket Symphony tour, Jean-Benoît Dunckel and Nicolas Godin played shows with only drummer Joey Waronker as support, forcing the band to strip its songs down to their essences. They stick with that lineup on Love 2, which delivers some of the most Air-like music to the band's name, and with good reason: this is the first time Dunckel and Godin have produced their own album. The duo tends to follow its more ambitious work with more accessible material and Love 2 is no exception, replacing Pocket Symphony's exotic, experimental bent with a renewed emphasis on the pair's quintessential sound. Godin and Dunckel dig deep into their arsenal of vintage electronic gear, topping those burbles, buzzes, and whooshes with some strings here and a few fuzzed-out guitars and basslines there…