Moonspell's sixth full-length release again finds the long-running Portuguese quintet producing heavily atmospheric metal that owes as much to Sisters of Mercy as to Black Sabbath. The songs on Darkness and Hope generally emphasize the overall mood over songwriting hooks, but there are some memorable moments, such as the streamlined "Devilred" and the darkly metallic "Rapaces." Splitting the difference between Type O Negative and Tiamat, Moonspell achieves both threatening ferocity and stately grace.

Unjustly ignored at the time of its release, Fred Jackson's lone album, Hootin' 'N Tootin', is a thoroughly enjoyable set of funky soul-jazz with hard bop overtones. It is true that Jackson doesn't try anything new on the set, but he proves to be a capable leader, coaxing hot, infectious performances out of guitarist Willie Jones, organist Earl Vandyke and drummer Wilbert Hogan, all of whom were collegues of Jackson in the Lloyd Price band. All of the songs on the album are Jackson originals, and while there are no substantial, memorable melodies, they provide an excellent foundation for the group's smoking interplay. Both the uptempo R&B numbers and the slower blues give the musicians plenty of opportunity to flaunt their chops while working the groove, and the result is a modest but highly entertaining set of earthy, bluesy soul-jazz that should have been heard by a wider audience…

Star's End is made up of two self titled parts, strong orchestral pieces with long periods of random themes not always taking a necessarily likeable direction. David Bedford has always been one for unpredicatble sound however on side one in particular Mike Oldfield's contribution on guitar is a definite highlight which kind of acts like the glue putting the pieces together. Side two is more accessible but still very much more of the same demonstrating the eccentric tendencies of David Bedford's sound.

The trio made up of Steve Dinsdale, Duncan Goddard and Gary Houghton play various sequencers, mellotrones, guitars, Fender Squires, Moogs and samplers all to good effect. Radio Massacre International has been playing together since 1979, first as a band called DAS, which released 12 albums between 1980-87, and have recorded together as RMI since 1993. Emissaries is a 2-CD set, the first being a studio set of 6 tracks that make up the hour long Emissaries Suite, and the second documents a live radio performance from 2004.

Kenny Rankin sings like Chet Baker would have if Baker had had a voice. His tone is high (Rankin's speaking voice is actually fairly low) and he has a subtle, cool style. It is a bit of a surprise, but Rankin (whose previous output has been in pop music) is actually a fine jazz singer. He always sticks to the lyrics when performing veteran standards (there is no scatting), but changes many of the notes, even during the melody statements, and he is definitely improvising. Rankin's concept is kind of strange ("At Last" and "The Very Thought of You" are radically changed) but successful and he has a strong and likable voice.

Sweet Dreams is the second release for Telarc by modern soul singer Mighty Sam McClain. On these 13 tracks, McClain delivers a powerful mix of originals and covers similar to one of his greatest influences, Bobby "Blue" Bland. Recording at the legendary Bearsville Studio in Woodstock, NY, McClain utlized his regular band of Kevin Belz (guitar), Bruce Katz (piano), Barry Seelen (Hammond B-3), Tim Ingles (bass), and Jim Arnold (drums) along with the addition of the Mighty Horns on several cuts, giving the album an extra funky edge.

The Greatest Hits compilation, originally released as Styx - Classics, Volume 15, in 1987 by A&M Records as part of A&M's classics series of greatest hits albums for artists on it's label. Japanese version includes two bonus tracks.

Richter actually made a full set of recordings for Handel's Concerti Grossi. The Munich Bach Orchestra, who almost played exclusively for Richter, maintained its essential baroque flur throughout all the pieces, under the impeccable conducting of Richter. The different string sections played as if they were in a chorus, each minute part played in fully melodious and engaging manner, while the ensemble as a whole displayed all the required congeniality and harmoniousness essential of the baroque style. The rhythms are enlivened while contrasts striking, and you will seldom find Handel's works played in such grand style as did Richter and the Munich Bach Orchestra here.

This recording of Messiah by the Dunedin Consort is based on a reconstruction of the original version premiered in Dublin in 1742. The Dublin version is rarely performed because the composer had simplified parts in deference to the vocal limitations of some of the local soloists, because it is not as complete as later versions of the score and because revisions Handel made after the first performance have become standard. This recording also seeks to duplicate the original performing forces as authentically as possible by having the soloists perform the choruses, as well, using a total of only 12 singers. The result is remarkably and refreshingly intimate. In spite of the modesty of scale, conductor John Butt leads a reading that never sounds small or limited; the performers convey the full extent of the work's wide emotional range.

Mark Knopfler's fine soundtrack to the film Metroland nicely evokes the picture's wistful, nostalgic atmosphere. Rounding out the collection are late-'70s classics from Dire Straits ("Sultans of Swing"), Elvis Costello ("Alison") and the Stranglers ("Peaches"), in addition to left-field inclusions like Françoise Hardy's "Tous Les Garcons et Les Filles" and Django Reinhardt's "Blues Clair."