2016 Version. Only live album to feature all original members, a hit-packed set from the band at their peak. New expanded edition of Smokie's The Concert - Live In Essen, Germany 1978 album, featuring bonus tracks, new liner notes and photos.

It's only been seven years between Just Whitney and 2009's I Look to You, not even Houston's longest time between albums, but it feels much, much longer, her glory days obscured in hazy memories of lost luster chiefly deriving from a bad marriage with Bobby Brown, chronicled in an embarrassing reality show for Bravo in 2004. I Look to You attempts to wash this all away with something of a return to roots – a celebration of Houston's deep disco beginnings, tempered with a few skyscraping ballads designed to showcase her soaring voice. Houston's rocky decade isn't ignored, but it isn't explored, either: songs allude to Whitney's strength, her willpower as a survivor struggling through some unnamed struggle – enough for listeners to fill in the blanks, either with their own experience or their imaginings of Houston's life.

Dana Fuchs is a throwback to another time: the late '60s and early '70s, when blues-based shouters like Janis Joplin and Robert Plant (in a somewhat different style) were capturing the attention of a generation. Her debt to Joplin is unapologetic – she starred in the off-Broadway musical Love, Janis – and at times maybe a bit too slavish. That's not to say that she brings no other elements to her interpretation of blues and soul-rock styles, only that there are moments on Love to Beg when one might be forgiven for wondering why one would listen to Fuchs when Joplin recordings are still so easily available.

The exquisite, classical balance evident in these six sonatas makes them rewarding examples of Haydn's exploitation of the piano's broad expressive range and rich textural variety. This volume in Jenö Jandó's complete edition presents these pieces in a compelling, moderninstrument version. For example, there's brilliance and sparkle in the opening movements of the D major and E flat Sonatas; warmth and dramatic intensity in the slow movements (most notably in the Baroque echoes of the Sonatas in C major and D major), and an appealing blend of wit and elegance in finales such as the third movement of the D major Sonata.

With Farewells, Warsaw-born countertenor Jakub Józef Orliński, partnered by pianist Michał Biel, offers a panorama of Polish song. Often nostalgic in spirit, the programme of the album spans 150 frequently turbulent years. “Michał and I started exploring the Polish art song repertoire when we were at the Juilliard School in New York,” explains Orliński, whose recordings until now have focused on the baroque era. “As a Polish duo we love to present Polish music to our public. I know that no language can present a barrier when it’s set to music. I believe that music builds bridges and I am sure that those songs will get under the listener’s skin.”