The Subscription Concert Series of the Wiener Philharmoniker from the Golden Hall of the famous Musikverein are special concerts reserved for subscribers. Due to the exceptional quality of the concerts and the limited offer, the average waiting time for subscribers is more than 10 years. With this series, these very special concerts are made available for the first time audiovisually to a wider audience worldwide. For this subscription concert, the Wiener Philharmoniker asked a long-time artistic companion to take the podium: more than 140 concerts and a multitude of celebrated recordings connect Christian Thielemann with the traditional Viennese orchestra.

As an album title, Good to Be… drifts off on a wave of ellipses, but on the record itself, it's presented as "Good to Be (Home Again)," making the spirit of Keb' Mo's 15th studio album explicit: he's settled into a comfortable groove, appreciating good vibes and mellow grooves. Despite cameos from Darius Rucker and Americana stalwarts Old Crow Medicine Show, there's not a pronounced country or folk undercurrent here. Good to Be… is cut from the same cloth as 2011's slick, soulful The Reflection, only it's even smoother and mellower – so low-key, it can veer into adult contemporary territory, a connection underscored by Kristin Chenoweth's appearance on the album closer "Quiet Moments." If Good to Be… sometimes is a little too cozy – it's executed well and its unifying spirit is evident, but a cover of "Lean on Me" still feels a little overly familiar – it's nevertheless a warm, welcoming album that's every bit as soothing and comforting as Keb' Mo' intended it to be.

This 22-track compilation makes for a commendable jaunt through some of the Climax Blues Band's best material. It may not be the most comprehensive set available, but it does manage to excerpt songs from some of the group's better albums. Led by the Number Nine hit "Couldn't Get It Right" (Number Ten in the U.K.), this compilation package takes the essential cuts from their most significant releases, including their self-titled debut album from 1968, when they were known as the Climax Chicago Blues Band, as well as 1971's Tightly Knit; 1972's Rich Man; and 1976's Gold Plated, which heralded both "Berlin Blues" and "Everyday."

A good first effort by a band very much in Yes' orbit – as when "Elliptical Seasons" shows Lutrell's uncanny mastery of Anderson's vocal style – this debut also shows the less complex electric timbre and thinner production that typified American progressive rock by such practicioners as Kansas. The album leads off with the wonderfully sprawling song that broke them on local radio in the hometown of Champaign, the ten-minute Moogs and Merlin epic, "Lady of the Lake." The closing instrumental, "Nova," also gives the band's very tight rhythm section a chance to shine, with Tassler opening the piece with a brief but effective solo. Though later releases would show the band was capable of better work, it's a decent enough debut and an interesting curio for fans of American progressive rock.

Along with Wit's Naxos recording, this is one of the best versions of Messiaen's phantasmagoric Turangalîla-Symphonie available, and it's very different: swifter, more obviously virtuosic in concept, perhaps a touch less warm in consequence, and engineered with greater “in your face” immediacy. The playing of the Concertgebouw, always a wonderful Messiaen orchestra, is stunning throughout. Chailly revels in the music's weirdness. The Ondes Martinot, for example, is particularly well captured. It's interesting how earlier performances tended to minimize its presence, perhaps for fear that is would sound silly, which of course it does, redeemed by the composer's utter seriousness and obliviousness to anything that smacks of humor. In any case, it's not all noise and bluster. The Garden of Love's Sleep is gorgeous, hypnotic, but happily still flowing, while the three Turangalîla rhythmic studies have remarkable clarity. Jean-Yves Thibaudet plays the solo piano part magnificently, really as well as anyone else ever has.

Whether they're fighting alien invaders, shadowy government conspiracies, or the Apocalypse, Muse always do it for love. On their eighth effort, Simulation Theory, they attempt to break through the virtual matrix in search of that human connection and freedom from the machine. The least complicated or overly conceptual offering (for Muse) in over a decade, the 11-song set is focused and cohesive, blaring down a neon-washed highway of pulsing synths and driving beats while swerving to avoid the orchestral and dubstep meandering of their preceding 2010s output. Unlike these same predecessors, there's also no filler or wasted time, making it the most compulsively listenable and immediate Muse album since 2006's Black Holes & Revelations…

This is a tremendous recording of Joe Pass at his most elegant. His selection of tunes is marvelous and his live improvisations are sublime. Recorded just a few years before his passing he is at best, relaxed and having fun as witnessed by some of his comments included on the CD. If there is one criticism to make it's that the volume levels are a bit low, but nothing to downgrade the music itself. this was a very difficult recording to acquire but worth it if one can find it.

Mom's Apple Pie was an American ten-member rock band from Warren, Ohio. They were best known for their album cover and for the voice of lead singer Bob Fiorino. The band released two albums, Mom's Apple Pie in 1972 and Mom's Apple Pie II in 1973. A third album was recorded but was not released until 2011. Their manager was Larry Patterson, and they recorded on a record label owned by Terry Knight, Brown Bag Records. The band enjoyed a successful career nationally and toured extensively across the United States. Venues included a wide array of college campuses, clubs, concert halls, the Whiskey A-Go-Go in Los Angeles and Madison Square Garden. They performed with such artists as The Doobie Brothers and David Bowie…

Struttin' Our Stuff, Bill Wyman's first album in nearly 15 years, is a surprisingly successful collection of blues and rock & roll. These performances are surprisingly energetic, even if they're a little too polished to accurately capture the gritty, roadside vibe they're trying to achieve. Nevertheless, there are a number of fine moments here, from covers of "Green River," "Tobacco Road" and "Mystery Train" to guest appearences from Eric Clapton, Albert Lee, Peter Frampton and Georgie Fame.

Blues bassist Willie Kent has strong, supple bottom lines that have supported all the best groups, but he's led his own band as well. This is his fourth Delmark date, and Kent heartily asserts himself as a singer, with a tone like Johnny Adams with a rougher edge. His equally excellent band features lead guitarists Bill Flynn and Jake Dawson alternating tracks, with rhythm guitarist Willie Davis, pianist Kenny Barker, and drummer James Carter. Baritone saxophonist/arranger Willie Henderson from the old Tyrone Davis band leads a three-piece horn section on three tracks. This 13-song program - ten written by Kent - comprises mostly classic 12-bar, IV-V-I blues changes. A hard-swinging "3-6-9," with Dawson's swift guitar and Baker's boogie piano, supports a bitch session for Kent. He is fairly believable on the B.B. King-styled "Address in the Street"…