If it never serves any other purpose, this two-disc collection of National Health's complete official output will at least always work as an effective refutation of the belief that all 1970s British prog-rock was overblown, self-indulgent, Mahlerian twaddle. Of course, most British prog-rock was just that, so it would be easy to understand anyone's reluctance to spend much time with it. Also, National Health has to be the least inviting band name in the history of British rock. But if you make the effort, you'll be richly rewarded. Yes, the compositions are long and they have titles like "Borogoves" and "Tales of a Damson Knight." Yes, there are lots and lots of solos. But there's also lots of structure and self-discipline undergirding those compositions and guiding those solos, and the band never seems to lose sight of the fact that they're playing for people other than themselves. That means there are melodies (sometimes even jazzy ones) and rhythmic hooks (sometimes even funky ones…okay, very slightly funky) as well as interesting textures and impressive fretwork. Highly recommended. (This isn't actually a "complete" collection of National Health's recorded output – see Missing Pieces, also on East Side Digital, for a good compilation of outtakes.)

The king of post-1945 stride pianists, Ralph Sutton is so consistently brilliant that it is difficult to come up with a recording of his that isn't highly recommended. This CD, a set of piano solos recorded in England and originally released by the J&M label, finds Sutton digging into well-known and obscure material alike. Three pieces are medleys, including a 12-and-a-half-minute, four-song tribute to composer Willard Robison. Other highlights include Fats Waller's "Viper's Drag," "I've Found a New Baby," "When I Grow Too Old to Dream," and "Honeysuckle Rose." Yet another highly recommended Ralph Sutton CD.

1000 Hands: Chapter One is the fifteenth studio album by English singer-songwriter and musician Jon Anderson, released March 2019. The album originates from sessions for a project to have been called Uzlot (a northern English pronunciation of "us lot") that Anderson had been recording in Big Bear, California, with Brian Chatton in around 1990. Chatton wrote most of the music, played keyboards and also sang. Anderson asked his then Yes bandmates Chris Squire and Alan White to play on the project too. At the time, Yes were preparing for a tour and Anderson put the master tapes in his garage and, as he has recounted, gave them very little thought for many years. In 2016, producer Michael Franklin contacted Anderson about using the tapes and finishing an album. Further recordings followed at Solar Studios in Orlando, Florida. Along with some newly written material, the final result is 1000 Hands.

As Robert Fripp had done with King Crimson's first live LP, Earthbound (1972), USA is a single-disc concert package documenting the quartet during its 1974 swing through North America. As with its predecessor, USA was also issued as a sonic cenotaph of the concurrently defunct Krim. So insistent that the band would not be resurrected, Fripp concluded the LP's liner notes at the time with another three-letter epitaph: "R.I.P." The 1973/1974 King Crimson included the collective efforts of Fripp (guitar/Mellotron), David Cross (violin), John Wetton (bass/vocals), and Bill Bruford (drums/percussion).

Carl Philipp Emanuel Bach (1714-1788) was a German musician and composer; and the second of five sons of Johann Sebastian Bach and his frist wife, Maria Barbara Bach. He is considered to be one of the founders of the Classical style, composing in the Rococo and Classical periods.

Melissa Etheridge wasn't out of the closet when she released Yes I Am in 1993, yet it's hard not to notice the defiant acclamation in the album's title. This barely concealed sense of sexual identity seeps out from the lyrics, and it informs the music as well, which is perhaps the most confident she has ever been. It's also the most professional she's ever been (perhaps not a coincidence), as she belts out these unapologetically anthemic numbers with a sense of finesse that's suited to lifestyle newspaper pages, not rock & roll, thereby setting herself up for her bout with celebrity during the second half of the '90s. Yes I Am wouldn't have been as convincing if it wasn't so slick, though; her Springsteen-isms and Janis tributes are tempered by songs that work as album rock favorites, even if they aren't as epic or passionate as their inspirations. She may not have songs as great as she did the first time out – "Somebody Bring Me Some Water" remains her finest moment – but she has a sense of purpose and identity that suits her well.

Howard Shelley directs the Tasmanian Symphony Orchestra from the piano in this latest volume of The Romantic Piano Concerto series. As ever, they perform unknown music with consummate style and deep understanding, making the best possible case for the works. We have reached Volume 63 and the works of French composer Benjamin Godard, a figure who is almost totally forgotten today. He is described by Jeremy Nicholas in his booklet note as ‘a composer who combines the sentimental melodic appeal of Massenet with the fecundity and technical facility of Saint-Saëns’.

Occasionally—very occasionally—a record appears that is so exactly right in every particular that a reviewer just sits back and gives himself up to sheer enjoyment (though making a mental note to reserve a place for it among his choices for the year). This is one such: its combination of Scarlatti's inexhaustible and unpredictable invention with Trevor Pinnock's vitality and rhythmic energy must surely lift the spirits of even the most jaded listener. Pinnock never puts a finger wrong here, literally or figuratively: he captures the atmosphere of each sonata with complete understanding, responsive to all Scarlatti's little quirks, and conveying a feeling of whole-heartedly enjoying himself.

Neil Young embarked on a 2019 European tour with Promise of the Real only two weeks after the passing of Elliot Roberts, his life-long friend and manager. Young viewed this tour as a living tribute to Roberts, claiming in the liner notes to Noise & Flowers – a 2022 document of the 2019 trek – that "Playing in his memory (made it) one of the most special tours ever. We hit the road and took his great spirit with us into every song." Noise & Flowers does indeed have a unique vibe, one that's far removed from the weird, fevered protest of Earth, the previous live album Young recorded with Promise of the Real. Here, he amiably wanders through his back pages, selecting a few standards ("Mr. Soul," "Everybody Know This Is Nowhere," "Helpless," "Rockin' in the Free World") but spending more time playing songs that don't always make their way onto set lists.