After dispensing with his services in December 1967, the remaining members of Traffic reinstated Dave Mason in the group in the spring of 1968 as they struggled to write enough material for their impending second album. The result was a disc evenly divided between Mason's catchy folk-rock compositions and Steve Winwood's compelling rock jams. Mason's material was the most appealing both initially and eventually: the lead-off track, a jaunty effort called "You Can All Join In," became a European hit, and "Feelin' Alright?" turned out to be the only real standard to emerge from the album after it started earning cover versions from Joe Cocker and others in the 1970s.

Charlie Musselwhite released the acoustic Mississippi Son in 2022; it was a towering achievement in a career full of them. It took home a Blues Music Award for Best Acoustic Blues Album. In 2023, he and Dynatones released the rowdy, undernoted Curtain Call. That year Musselwhite also played the role of Alvin Reynolds in Martin Scorsese's epic Killers of the Flower Moon. Musselwhite's Look Out Highway marks the very first time in his long career that he's used his touring band in the studio. He, guitarist Matt Stubbs, drummer June Core, bassist Randy Burmudes, and Kid Andersen on piano and Hammond B-3 recorded the set at Andersen's Greaseland Studio in San Jose, California as well as in Musselwhite's new home in Clarksdale, Mississippi. Andersen engineered the set and assisted co-producers Henrietta "Henri" Musselwhite – Charlie's spouse, manager, and constant companion – and Gary Vincent.

The complete organ works by Walther! Johann Gottfried Walther (1684-1748, a near contemporary of Bach) spent the major part of his life as the organist of the Church of St. Peter and Paul in Weimar, where he also was teacher of the Duke of Weimar. He formed a close friendship with Johann Sebastian Bach, of whom he was a second cousin. Walthers organ music may be divided into a large corpus of Chorale settings, in which he followed the tradition of Bach, and the transcriptions of fashionable concertos by composers like Telemann, Albinoni, Torelli, Vivaldi, Gentili and many others.

Der Tod Jesu of Carl Heinrich Graun (1704–59), completed in 1755, was for decades the musical mainstay of Passiontide services (a position now held by Bach’s and St. John Passions), being performed by the Berlin Singakademie virtually every Good Friday until 1884. Unlike the passions of Bach, Schütz, and other predecessors, Graun’s work does not set any texts of Scripture. Instead, in line with burgeoning Enlightenment sensibilities, the entire libretto by Carl Wilhelm Ramler (1725–98) is written in the exalted style of impassioned poetic declamation common to opera libretti of the era, in supposed imitation of Greek tragedy. At less than half the length of the Bach passions, and musically far less complex, with dignified and attractive arias composed in a style somewhat akin to those of Handel’s Messiah , it remains winsome even today, and its enduring popularity is readily comprehended.

Tālivaldis Ķeniņš (1919–2008) is a name that is not known to most classical listeners despite of his long international career as a composer. This album presents three orchestral works by one of Latvia’s greatest 20th century composers performed by the Latvian National Symphony Orchestra under the baton of Andris Poga and Guntis Kuzma.

Liszt’s chamber music is not well known—to the extent that some music lovers often do not even know it exists—for the sole reason that, in large part, it consists of transcriptions, and the principle of transcription does not automatically inspire confidence in today’s musicians. Yet, aside from the few ‘originals’ proposed in this programme, the transcriptions were quite often realised by Liszt himself, for whom the concepts of transcription, reduction, adaptation or paraphrase were an integral part of musical creation. The works chosen for this recording meet two criteria: they all include a more-or-less solo cello part, and a good number of them come from the 1880-86 period, i.e., Wagner’s and Liszt’s last years.

The Best of the Alan Parsons Project, Vol. 2 typically picks up where its predecessor left off. With 11 tracks covering seven albums, including Gaudi, Stereotomy, and Vulture Culture, the songs here are a tad weaker than those on the first collection, since some of the albums that these songs originate from were not of this band's finest caliber. The highlights here include both "Prime Time" and "Don't Answer Me" from Ammonia Avenue, and the provocative instrumental "I Robot," the only non-vocal track on the album. All of the selections on this package convey their purpose much better within their former albums, since each song is a link in the album's conceptual chain.