Moufang's first solo project for Fax is a pretty minimal affair, similar to the I.F. series but without quite the breadth of sounds. Moufang restricts himself to an 808 and maybe two or three synths for the entirety of the disc, which shifts track to track between moody, soundtrackish ambient and more upbeat techno- and electro-derived listening music.

Brother Jack McDuff recorded an enormous number of albums during the '60s, so it can be difficult to figure out where to start digging a little deeper into his output (which Hammond B-3 fans will definitely want to do). 1967's Tobacco Road stands out from the pack for a couple of reasons. First, unlike many of his groove-centric albums, it's heavy on standards and pop/rock tunes (seven of nine cuts), which make for excellent matches with McDuff's highly melodic, piano-influenced style. What's more, about half of the album finds McDuff leading a large ten-piece ensemble arranged and conducted by J.J. Jackson, including a soulful horn section that sounds straight out of Memphis or Muscle Shoals (though this was recorded at Chess studios in Chicago)…

The Game is the eighth studio album by the British rock band Queen. It was released on 30 June 1980 by EMI Records in the UK and by Elektra Records in the US. The Game features a different sound than its predecessor, Jazz (1978). The Game was the first Queen album to use a synthesizer (an Oberheim OB-X). A critical and commercial success,The Game became the only Queen album to reach No. 1 in the US, and became their best-selling studio album in the US, with four million copies sold to date, tying News of the World's US sales tally. It is estimated to have sold a further 4 million copies in other countries. Notable songs on the album include the bass-driven "Another One Bites the Dust" and the rockabilly "Crazy Little Thing Called Love", both of which reached No. 1 in the US. The Game was the first Queen album to be recorded digitally.

There is no doubt that when these guys released 'Bilateral' in 2011 that they created a lot of noise in the prog scene, literally. Here is a band that is happy, really happy, to be a metal outfit and tour with bands like Amorphis, Therion, Opeth, Pagan's Mind et al yet also have one foot firmly in the prog camp. And if you didn't know, these guys have acted as fellow Norwegian Ihsahn's backing band so they really have no qualm with producing music at the heaviest and most complex level. Here is a band that takes the melodic soundscape of Muse, and then mixes it up liberally with Devin Townsend to create something that at times is almost breathtakingly beautiful. This is modern, with the odd nod back to King Crimson, and is very much modern metallic progressive music for the 21st century.

Shakira's 1996 debut album, Pies Descalzos set the stage for one of the international community's most celebrated and exciting stars. The album took a while to gain momentum, but once it did, the young chanteuse ascended to dizzying commercial heights that were only magnified with her more electrifying later releases. The more tranquil Pies Descalzos, however, finds the young singer/songwriter balancing heartfelt, earnest ballads (such as "Te Necesito") with catchy, jangly pop/rock. The album opens with the infectious and melodic pop/rocker "Estoy Aqui" and continues with the ballad "Antologia" before breaking into the dancehall-lite of "Un Poco de Amor."

Sandy-voiced French singer and actress Louane Emera aka Louane (born Anne Peichert) found fame as a contestant in the second season of France's The Voice in 2013. Though she didn't make the finals of the singing competition, she was cast as one of The Bélier Family in the 2014 film, which featured her singing several songs including Michel Legrand's "Je Vole." She won a César Award for Most Promising Actress for the film. That same year, she released her first single, "Jour 1," which hit the Top Ten in France; "Je Vole" climbed to number two; and she appeared on two covers collections, We Love Disney, Vol. 2 and La Bande à Renaud, Vol. 2. Her debut album, Chambre 12, arrived in 2015 and went to number one on France's album chart, also charting in Belgium and Switzerland.

"If the voice don't say it, the guitar will play it," raps Saffron on "Pork-U-Pine," the third track on Jeff Beck's minimally titled Jeff. And he does. Beck teams with producer Andy Wright, the man responsible for his more complete immersion into electronic backdrops on his last outing, You Had It Coming. This time the transition is complete. Beck used electronica first on Who Else!, moved a little more into the fire on You Had It Coming, and here merges his full-on Beck-Ola guitar heaviness with the sounds of contemporary spazz-out big beats and noise.

On his brand-new sophomore release, Fusiolicious, Turkish Cypriot bassist Oytun Ersan has an all-star band on hand to present seven cooking original tunes! The music is expertly executed on an intriguing blend of electric and acoustic instruments, featuring giants of jazz fusion, including drummer Dave Weckl, saxophonist Eric Marienthal, keyboardists Gary Husband and Gerry Etkins, guitarists Brett Garsed, Okan Ersan and Mike Miller and violinist Karen Briggs.

Don’t Hesitate is a musical and personal milestone for Midуn, who took control of every aspect of the album’s recording process, despite being blind since birth. The artist cut all of the tracks in his home studio, playing most of the instruments himself and handling all of the project’s technical elements on his own, utilizing special computer software that enabled him to engineer the sessions.

Fux was a prolific composer of vocal and instrumental music. His works include 19 operas, of which Costanza e fortezza (1723) is notable; 29 partitas, including the Concentus musico-instrumentalis (1701); 10 oratorios; and about 80 masses, of which the Missa canonica, (1708), written in canon. His book Gradus ad Parnassum" (1725; Steps to Parnassus) attempted to systematize contrapuntal practices. It was long the standard textbook on counterpoint and was studied by Wolfgang A. Mozart, Joseph Haydn, and other 18th-century composers.

An acclaimed Italian guitar virtuoso and composer, Mauro Giuliani, along with Fernando Sor, was one of the last great classical proponents of his instrument until its revival in the early twentieth century. He studied counterpoint and the cello, but on the six-string guitar he was entirely self-taught, and that became his principal instrument early on. Italy abounded with fine guitarists at the beginning of the nineteenth century (Carulli remains the most familiar today), but few of them could make a living because of the public's preoccupation with opera. So Giuliani embarked on a successful tour of Europe when he was 19, and in 1806 he settled in Vienna, where he entered the musical circle of Diabelli, Moscheles, and Hummel. He solidified his reputation with the 1808 premiere of his Guitar Concerto in A major, Op. 30, and was soon heralded as the greatest living guitar virtuoso. Even Beethoven noticed Giuliani, and wrote of his admiration for him. Perhaps to return the favor, Giuliani played cello in the 1813 premiere of Beethoven's Symphony No. 7.