Alan Parsons was 19 years old when he landed a job at the world famous Abbey Road Studios, an important first step on his journey to becoming a world class engineer, producer and artist. Following his beginnings with George Martin and The Beatles, his contribution to Pink Floyd's classic 'The Dark Side Of The Moon' earned him worldwide attention. As a producer he had many hits with Pilot, John Miles, Ambrosia and Al Stewart. Together with his manager and creative partner at the time, Eric Woolfson, he developed the Alan Parsons Project. Following their debut album "Tales Of Mystery And Imagination" (1976), they released a series of hit albums; namely "I Robot" (1977), "Pyramid" (1978), "The Turn of a Friendly Card" (1980), "Eye in the Sky" (1982), "Ammonia Avenue" (1984), "Vulture Culture" (1985), "Stereotomy" (1986) and "Gaudi" (1987).

BJ 4 starts off promising with a flugelhorn solo from the great Art Farmer, but the music soon sinks into pure commercialism. Bob James' keyboards are always prominent, as are the rather mechanical rhythms churned out by bassist Gary King, drummer Steve Gadd, and percussionist Ralph MacDonald. Although there are some catchy moments, the six selections (which all clock in between almost five and almost seven minutes) never seem to travel anywhere. Farmer, flutist Hubert Laws and guitarist Eric Gale have short solos that are primarily used as props and for contrast before James takes back complete control. The occasional strings and woodwinds make the light funk music here seem a bit Muzaky, so this is one to skip.

Jesus Christ Superstar started life as a most improbable concept album from an equally unlikely label, Decca Records, which had not, until then, been widely known for groundbreaking musical efforts. It was all devised by then 21-year-old composer Andrew Lloyd Webber and 25-year-old lyricist Tim Rice. Jesus Christ Superstar had been conceived as a stage work, but lacking the funds to get it produced, the two collaborators instead decided to use an album as the vehicle for introducing the piece, a fairly radical rock/theater hybrid about the final days in the life of Jesus as seen from the point of view of Judas. If its content seemed daring (and perhaps downright sacrilegious), the work, a "sung-through" musical echoing operatic and oratorio traditions, was structurally perfect for an album; just as remarkable as its subject matter was the fact that its musical language was full-blown rock music.

This boxed set of Grieg’s complete orchestral works is a celebration of the composer’s rich and multi-faceted aesthetic. Grieg was an idealistic humanist whose music and writings underlined a harmony between humans and nature. The sense of nostalgia and ‘postcard lyricism’ often associated with him belies the wild energy also present in his music – its primeval force, pessimistic emotions and tempestuous Romanticism. Thanks to Bjarte Engeset’s carefully researched and widely admired performances, Grieg’s complex musical universe can here be appreciated in full.