It's remarkable that Alanis Morissette's Jagged Little Pill struck a sympathetic chord with millions of listeners, because it's so doggedly, determinedly insular. This, after all, plays like an emotional purging, prompted by a bitter relationship – and, according to all the lyrical hints, that's likely a record executive who took advantage of a young Alanis. She never disguises her outright rage and disgust, whether it's the vengeful wrath of "You Oughta Know" or asking him "you scan the credits for your name and wonder why it's not there." This is such insider information that it's hard to believe that millions of listeners not just bought it, but embraced it, turning Alanis Morisette into a mid-'90s phenomenon.

The four-year wait between 2002's Just Whitney and her previous album, 1998's My Love Is Your Love, was half that between that record and its predecessor, 1990's I'm Your Baby Tonight, but it felt twice the length, since Whitney Houston's career nose-dived during those four years. She retreated from the spotlight and as she cancelled concerts, scrapped albums, and pulled out of public appearances, rumors swirled that she and husband Bobby Brown were dangerously addicted to drugs. Following a disastrous performance at the September 2001 Michael Jackson tribute concert, where she looked as if she had already wasted away, the chattering reached a fever pitch and she needed to restore her reputation – hence the title of Just Whitney, an assertion that she's returning to her basics.

Ariana Grande is an American singer and actress. She began her career in the Broadway musical 13, before landing the role of Cat Valentine on the Nickelodeon television series Victorious in 2009. After four seasons, the show ended, and Grande starred on the spinoff, Sam & Cat, which ended in 2014. She has also appeared in other theatre, television and film roles and lent her voice to animated television and films. Grande's music career began with the soundtrack Music from Victorious (2011). She signed a recording contract with Republic Records and released her debut studio album, Yours Truly in 2013, which debuted at number one on the US Billboard 200. The album's lead single, "The Way", reached the top-ten of the Billboard Hot 100, with critics comparing her wide vocal range to Mariah Carey.

Although it's not on the same level as the best progressive bands – the drums and keyboards are not really up to the challenge presented by the guitars – this album has been rather unfairly written off by some music critics. Their debut begins with their strongest composition: "Voices," whose multiple movements, chorus lyrics of "a million voices singing," broad washes of mellotron, and alternating guitar tones make it sound like an outtake from Yes's "The Ancient." The instrumental "Theme" has some fine jazz-prog sax soloing over a lush backing, and "Dawn of Evening" has a wonderfully taut bassline march pushed to the front of the mix.

Shadowland are a British progressive rock band formed in the 1990s. The band's music tends towards the pop side of progressive rock, while retaining its melodic and emotional intensity. Shadowland took a lengthy break from recording and performing between 1996 and 2009. During this time Nolan was writing and performing in Arena, which has a heavier musical style. Nolan has also been Pendragon's regular keyboardist since 1986 and, more recently, has written and toured a rock opera entitled She in a partnership with Agnieszka Swita under the band name Caamora.

The three concertos are young Mozart's first in the genre (along with the Pasticci concertos 1-4), and are based on tunes by J.C. Bach. While the questions are rightly posed, "how much of this did Mozart write and how much of it was Leopold or other sources," the music stands for itself. While not neccesarily the work of a young genius sprung fully formed from Zeus' head, they are excellent examples of galant composition.

How appropriate that Harnoncourt, a conductor who through recordings has probably done more than anyone else to allow us to explore Bach's choral music, should now turn his attention to Mendelssohn; a composer who, as a conductor, was responsible in his time for the revival of Bach's fortunes, not to mention revising the Leipzig Gewandhaus Orchestra's programmes to ensure that Mozart, Beethoven, Haydn, Handel and Bach formed the backbone of the repertoire—exactly those composers, in fact, who form the core of Harnoncourt's discography.

Of Gustav Mahler's symphonies, the Symphony No. 4 in G major is the most neo-Classical in character, the most lighthearted in expression, and the most compact in form, all of which make it the most accessible of the cycle. Because Mahler's effects are precisely calculated, the music invites few liberties, and performances of the symphony tend to be quite similar in style and pacing; consequently, David Zinman and the Tonhalle Orchestra Zurich turn in a meticulous rendition that resembles many others in interpretation and is uncontroversial in execution.

Theoretically, assembling a Jackson Browne greatest-hits collection would be easy, but The Next Voice You Hear: The Best of Jackson Browne proves that isn't necessarily the case. Boasting 13 tracks, plus two new songs, The Next Voice You Hear contains some of Browne's biggest hits – "Doctor My Eyes," "Running on Empty," "Somebody's Baby," "Tender Is the Night" – but it leaves just as many off, including "Rock Me on the Water," "Here Come Those Tears Again," "Stay," "Boulevard," "Lawyers in Love," and "For America." Of course, singles only told half the story with Browne, and many of his greatest songs were only available as album tracks. Therefore, it makes sense that album cuts like "These Days," "Late for Sky," and "The Pretender" are present, but there are still a number of equally good, if not better, cuts that are left off. As a result, The Next Voice You Hear is merely adequate for casual Browne fans, but it's nowhere near definitive.

Bobby Rush was a journeyman blues singer, most famous for the novelty hit "Chicken Heads." On this album, however, he took his decades of his experience and his close study of Howlin' Wolf and made an urban blues album for his times, incorporating touches of Philadelphia soul, street-corner harmonies, and the rhythms of the pulpit. He tackled modern injustice ("Evil Is") alongside Seventies sexual mores ("I Can't Find My Keys"); Rush Hour was the first album in a sequence of ever-stranger "folk-funk" explorations. What We Said Then: "Rush Hour is so weird that it's a wonder George Clinton didn't think of it first. . .What emerges is outrageous and stunning. . .In a time when most black pop music sounds machine crafted, this record is more than an anomaly. Rush Hour is a tribute to resilience–a sign that the lessons Howlin' Wolf and his peers learned and taught have been neither lost nor forgotten. You're going to need something like this to get you through the Eighties".