Light Years, The Very Best of Electric Light Orchestra is a two CD compilation album by Electric Light Orchestra (ELO). The album celebrates the band's 25th Anniversary singles career starting in 1972 and contains all of ELO's 29 UK hit singles plus other single edits that either didn't chart or were hits in other countries. All the songs included are the edited 7" single versions. It is also the first ELO compilation to feature the song "Across the Border" which was scheduled to be released as an EP track in 1980 but was withdrawn. Although not in chronological order, it is however the most comprehensive assemblage of the band's hits of the many compilations available. The album reached 60 in the UK Album Charts. The album was also released in Europe with an identical track order under the titles, The Swedish Collection and The Danish Collection.

When Fran Healy sings "Why did we wait so long" on "Mother," the opening song on Travis' seventh album, he could be addressing his band, which spent nearly five years between 2008's Ode to J. Smith and its 2013 follow-up, Where You Stand. The extra time off has done the band some good. Toward the end of the 2000s, Travis started to sag under their own weight, as the group slowly grew more ponderous, and while it certainly can't be said that Where You Stand is effervescent, it is more nimble than either Ode or The Boy with No Name, and it boasts a greater variety of tempos and textures, as well.

On their way-kool second studio disc, The Muggs unleash 11 tracks of bad-ass, killer, vintage, blues-based, heavy guitar power trio rock n' roll mojo that delivers the six string riffage that matters. "On With The Show" kicks ass and is all about the rock. Highly recommended to fans of Mountain, Led Zeppelin, Grand Funk, James Gang & Budgie. The Muggs is an American blues-rock band from Detroit, Michigan. Formed in February 2000 by guitarist Danny Methric, bassist Tony DeNardo and drummer Matt Rost. They were ranked in December 2008 on the "100 Hot Unsigned Band" list by Music Connection Magazine. They won several awards including the Best Blues Artist and the Best Rock Band for 2007.

Michael Chapman's The Man Who Hated Mornings might be seen as comparable to Eric Clapton's Slowhand release of the same year, and the presence of guitarist Mick Ronson (reunited with Chapman after six years spent elsewhere) does ensure that the frets get a fair workout as the album goes on. The comparison, however, has more in common with the mood of the record than any virtuoso concerns – it is Chapman at his most laid-back, and only occasionally stirring himself into first gear. A cover of Dylan's "Ballad in Plain D" is a triumphant highlight, seguing into Chapmans own "Steel Bonnets" instrumental to emerge a shoo-in for any "best-of" Chapman anthology.

This two-disc set from ex-Procol Harum member and pioneering English guitar player Robin Trower features a collection of highlights from his post-Chrysalis Records period. Boasting 35 tracks culled from the albums Passion (1987), Take What You Need (1988), In the Line of Fire (1990), 20th Century Blues (1994), Go My Way (2000), Living Out of Time (2003), Another Day's Blues (2005), Seven Moons (2008), What Lies Beneath (2009), The Playful Heart (2011), and Roots and Branches (2013), Compendium 1987-2013 offers up a solid overview of Trower's later works, and would pair nicely with 2012's Farther On Up the Road: The Chrysalis Years (1977-1983).

Arcangelo Corelli was the most famous Italian composer of the late 17th century. He owed this preeminence to his skill in harnessing the musical tendencies of his time, as is demonstrated by his celebrated Sonatas, which became the models for the chamber sonata (sonata da camera) and church sonata (sonata da chiesa). Yet the composer himself was constantly reacting against these archetypes, and it is this perpetual reflection on his own art that gives his works their extraordinary richness.

This recording brings together two of the greatest works of the Classical era in transcriptions for solo piano by two of the greatest pianist-composers of the Romantic era, resulting in two of the most thrilling experiences that nineteenth-century pianism has to offer.

Although Moritz Moszkowski (1854–1925) wrote a considerable quantity of piano music, only a single piece, ‘Étincelles’, made it into the repertoire, not least because Horowitz enjoyed playing it. The early works on this second instalment in Ian Hobson’s survey of Moszkowski’s complete music for solo piano reveal a debt to Mendelssohn and Schumann, but the effortless craftsmanship heard here already justifies a later remark of Paderewski’s: ‘After Chopin, Moszkowski best understands how to write for the piano, and his writing embraces the whole gamut of piano technique’. Most of the pieces in Opp. 15 and 18 are attractive salon miniatures, but the Three Piano Pieces in Dance Form, Op. 17, are extended Lisztian essays that showcase Moszkowski’s mastery of the keyboard and his command of form.

The 2015 International Chopin Competition in Warsaw was so thick with talent that even as fine a Chopin interpreter as Aimi Kobayashi did not make the medal stand (she did place in the round of ten). She's an exceptional pianist who brings the power and speed of the piano stars of yore, who often plays Liszt as well as Chopin. On this release of Chopin's preludes, plus a few other Chopin hits, listen to the well-worn Prelude in C minor, Op. 28, No. 20, where the imposing opening chords seem to pulse through the whole work. Kobayashi's passagework in the faster preludes is fleet but never muddy, and where Chopin has embedded a melody, she catches it.