The other side of Bob Dylan referred to in the title is presumably his romantic, absurdist, and whimsical one – anything that wasn't featured on the staunchly folky, protest-heavy Times They Are a-Changin', really. Because of this, Another Side of Bob Dylan is a more varied record and it's more successful, too, since it captures Dylan expanding his music, turning in imaginative, poetic performances on love songs and protest tunes alike. This has an equal number of classics to its predecessor, actually, with "All I Really Want to Do," "Chimes of Freedom," "My Back Pages," "I Don't' Believe You," and "It Ain't Me Babe" standing among his standards, but the key to the record's success is the album tracks, which are graceful, poetic, and layered. Both the lyrics and music have gotten deeper and Dylan's trying more things – this, in its construction and attitude, is hardly strictly folk, as it encompasses far more than that. The result is one of his very best records, a lovely intimate affair.

Live at the Royal Albert Hall is a live album released by English synthpop duo Erasure in 2007. It is a double-CD set that is a recording of a concert appearance performed on 25 September 2007 at the Royal Albert Hall in London. This concert was a performance to promote the band's 2007 album Light at the End of the World. It was recorded and distributed in conjunction with Live Here Now and was available only through direct order and as a digital download via Live Here Now. Because of this limited availability, the album was ineligible for the UK Albums Chart. A DVD of the same concert was released at the beginning of 2008 and got wider commercial release so that it charted at #7 in the UK music DVD chart and at #19 in the German music DVD chart.

The achievements of the brothers Gibb are truly unique. No other band has scored Number Ones around the globe in each of five decades. This album contains the best-loved number one singles, plus classic songs taken from Number One albums. In all, 20 stunning tracks which prove the Bee Gees' Greatest achievement: touching the heart and soul of millions of people with their music.

Vocalion Ltd repackaged and re-released two Blood, Sweat and Tears LPs originally on Columbia – Mirror Image (1974) and New City (1975) – as a SACD Hybrid Multi-channel. Included on these mid-'70s releases are "Look Up to the Sky," "Are You Satisfied," "Ride Captain Ride," "One Room Country Shack," and "Got to Get You Into My Life." All tracks available in stereo and quadraphonic mixes.

The Romantic Piano Concerto series reaches 62 and makes an interesting (although temporary) departure: these four works are for pedal piano (a piano which includes a separate keyboard for the feet, to be played rather in the manner of an organ). Gounod was inspired by the talent of the young and apparently very attractive Lucie Palicot (born circa 1860) whom he heard performing Alkan’s music for pedal piano in 1882. Gounod is far better known for his operatic and liturgical compositions: these works show a different side to this nineteenth-century luminary.

Johann Caspar [Kaspar] Ferdinand Fischer was a German (Bohemian) Baroque composer and Kapellmeister. Johann Nikolaus Forkel ranked Fischer as one of the best composers for keyboard of his day, however, partly due to the rarity of surviving copies of his music, his music is rarely heard today. There can be no doubt that J.C.F. Fischer belongs to the ranks of the important and influential keyboard composers of the 17th/early 18th centuries.

Marin Marais published his Quatrième Livre de Pièces de Viole two years after the death of Louis XIV, establishing himself as the undisputed master of the genre and providing pieces not only for musicians who had achieved some skill on the viol but also for the most virtuoso players. Here Marais reshaped the classical forms, altering the traditional sequence for the suites and making an increasing use of character pieces. The sometimes whimsical imagery and the new freedom of form that these pieces contain reach their peak in the astonishing Suitte d'un goût étranger; these thirty or so pieces employ as yet unheard-of keys and offer a multitude of characters and representations that can tend towards the exotic. Breaking further new ground, and somewhat influenced by the Italian trio, Marais ended the Quatrième Livre with two suites for three viols, a genre he claimed to be new to France.