Of all the liturgical reconstructions that Paul McCreesh has been offering over the past decade, this is easily the most elaborate. It's astonishing to think that Bach's parish church would have celebrated Epiphany (the 12th day of Christmas, January 6, usually a weekday) as elaborately as this program, and it's fascinating to think of the congregation of the Thomanerkirche anticipating the event around 1740. The entire service is included in the recording, much like the Catholic Masses on record that include the celebrant's prayers and Preface before the Sanctus (chanted in Latin even here), the Scripture chanting (in German here, of course), and all the odd versicles. The sermon is only six minutes long, just a hint of a longer discourse (it would have been at least an hour long, according to the notes).

The third Tyrannosaurus Rex album, and their debut U.S. release, Unicorn was also the first to steadfastly state the game plan which Marc Bolan had been patiently formulating for two years - the overnight transformation from underground icon to above ground superstar. Not only does it catch him experimenting with an electric guitar for the first time on record, it also sees Steve Peregrin Took exchange his bongos for a full drum kit, minor deviations to be sure, but significant ones regardless. And listen closely: you can hear the future. The opening "Chariots of Silk" sets the ball rolling, as slight and lovely as any of Bolan's early songs, but driven by a tumultuous drum roll, a pounding percussion which might be the sound of distant gunfire, but could as easily be a petulant four-year-old, stamping around an upstairs apartment…

Since the great boom in Cuban son, Luis Frank has become one of the great names of the second generation who keep Cuban musical heritage alive far beyond its borders. The current album intends to demonstrate how Christmas is celebrated in Cuba and the whole of Latin America: just like we celebrate it here, contemplatively, but with lots of joy and dancing too. This is a Christmas CD with a difference that will enrich your Christmas festivities.

Anthony Phillips was one of the original founding members of Genesis featuring Peter Gabriel, Tony Banks, and Michael Rutherford. Following "Trespass", Genesis' second album, Phillips left (purportedly due to stage fright) and was replaced by Steve Hackett. Nothing was heard again from Anthony until 1977, when he favored us with his first solo, "The Geese and the Ghost". Much of this recording sounds like a lost Genesis album, understandable since Phil Collins does a lot of the singing, and Michael Rutherford is present on guitar, bass, and keyboards, and also shares composer credits with him on major parts of this album…

Kenny Neal's dad Raful is a longtime Baton Rouge swamp blues stalwart whose own discography is way sparser than it should be. This album, first out on Bob Greenlee's King Snake logo, is an atmospheric indication of what the elder Neal can do with a harmonica, mixing covers ("Steal Away," "Honest I Do," "No Cuttin' Loose") with spicy originals.

Whether the band felt it was simply the time to move on from its most explicit industrial-pop fusion days, or whether increased success and concurrently larger venues pushed the music into different avenues, Depeche Mode's fifth studio album, Black Celebration, saw the group embarking on a path that in many ways defined their sound to the present: emotionally extreme lyrics matched with amped-up tunes, as much anthemic rock as they are compelling dance, along with stark, low-key ballads. The slow, sneaky build of the opening title track, with a strange distorted vocal sample providing a curious opening hook, sets the tone as David Gahan sings of making it through "another black day" while powerful drums and echoing metallic pings carry the song…

Decca has released an elegant performance of Strauss's Arabella, Sir George Solti's second commercial recording of the work. The first is the 1957 version which is rightfully famous, with a cast headed by Lisa Della Cassa, Hilde Gueden and George London, with the Vienna Philharmonic. There also is a performance from the 1958 Salzburg Festival with Gueden and London, long discontinued. Now we have this magnificent 1977 Unitel film directed with the greatest sensitivity by Otto Schenk who always has the camera in the right place. The performance is superb in every way. Gundula Janowitz specialized in this role, and although she is a bit matronly, vocally she is unmatched.