The Collectors' Colosseum is a compilation album by Colosseum that was released in England in 1971. Colosseum are an English jazz rock band, mixing blues, rock and jazz-based improvisation. Colin Larkin wrote that "the commercial acceptance of jazz rock in the UK" was mainly due to the band. Between 1975 and 1978 a separate band Colosseum II existed playing progressive rock.

Written for The Tallis Scholars, Ikon of Light is scored for double choir and string trio, heard from a distance. The sonorous choral textures have a strongly mystical spirit which radiantly expresses the Greek concept of light.

Viennese church music of the generations before Haydn and Mozart is regrettably unfamiliar, and this attractive CD fills in something of the background and helps tell us where Haydn and Mozart were coming from. Antonio Caldara, Venetian by birth, spent several years in Rome, moved to Vienna in 1716 (he was in his mid-forties) as vice-Kapellmeister to Fux and (with regular trips to Salzburg to write operas) stayed 20 years, until his death. He wrote a large quantity of church music, including some 30 festal masses from his Viennese years, of which the main work here seems to me an excellent example. Caldara's rich textures and often very expressive and chromatic harmony, his fluent Italian melodic writing and his resourceful counterpoint, suffuse a work with many striking qualities.

Arrau was in his late fifties when he gave these performances; yet he had decades in front of him, too. The music of the Romantics was in his blood, and programs from 1933/34 reproduced in Joseph Horowitz’s book Conversations with Arrau reveal, for example, the Chopin B flat minor Sonata nestling between Beethoven and Ravel; Schumann, Liszt, Beethoven and Schubert all figure largely in those recitals. That the music on this present disc is music close to Arrau’s heart is an understatement.

CD-reissue of the amazing '75 debut LP by this well-known group that blended progressive, symphonic and flamenco roots. The album also features the hit 'Abre La Puerta'. This ethnic music comes from Andalusia where the poor gypsies sublimated their misery into music, often with very emotional results. The songs on 'El Patio' deliver a unique tension between the flamenco elements and the electric guitar and keyboards. This CD-version includes four previously unissued live cuts.

If Closing Time, Tom Waits' debut album, consisted of love songs set in a late-night world of bars and neon signs, its follow-up, The Heart of Saturday Night, largely dispenses with the romance in favor of poetic depictions of the same setting. On "Diamonds on My Windshield" and "The Ghosts of Saturday Night," Waits doesn't even sing, instead reciting his verse rhythmically against bass and drums like a Beat hipster. Musically, the album contains the same mixture of folk, blues, and jazz as its predecessor, with producer Bones Howe occasionally bringing in an orchestra to underscore the loping melodies. Waits' songs are sometimes sketchier in addition to being more impersonal, but "(Looking For) The Heart of Saturday Night" and "Semi Suite" are the equal of anything on Closing Time…

Mud's debut album is one of those records that truly sums up a time and a place – in this instance, England in 1974, as glam rock flirted increasingly gregariously with a similarly ongoing rock & roll revival. It was a period, after all, in which Bill Haley returned to the Top 20, Showaddywaddy was threatening to dominate it, and Mud itself had been launching some remarkably convincing Elvis impersonations into the upper echelons of the chart. Mud's producers and songwriters, Nicky Chinn and Mike Chapman, certainly encouraged their charges' retro pretensions, conceiving both Mud Rock and its successor, Mud Rock, Vol. 2, as all-out party albums, with the band the greatest jukebox in the land.