This live Appassionata, from a Moscow recital of 1959, is one of the most thrilling piano performances ever recorded. Sviatoslav Richter fills every moment of the first movement with intense drama, creates the illusion of total repose in the central variations, and then takes off in the finale with an exhibition of musical virtuosity and ever-increasing tension that becomes almost unbearably intense (and unbelievably fast and accurate). The studio Pathétique is quite fine, and the Fantasy (sung in Russian!) well performed by all but still rather quaint in its effect. But don't miss that Appassionata!

This pleasant techno hybrid remixes mostly Chronologie with a few sustainable classics (Equinoxe 4 & 7, Magnetic Fields 2, Calypso, Revolutions) and tries to bridge the gap between contemporary Jarre and late 90s dance. This is better considered a B-side of Chronologie, and so long as you loved that, or old skool techno, you might take to this.

In 1971, the Jazz Crusaders reinvented themselves for the first time. First they dropped the word "jazz" from their moniker, and secondly they wholeheartedly embraced electric bass and guitars in their mix. Their new "debut" is a wonder of jazz-funk as a natural evolution out of hard bop and soul-jazz. While the wonderful horn interplay between saxophonist Wilton Felder and trombonist Wayne Henderson is still everywhere evident, the badass, beat-driven rhythm section has Joe Sample playing funky Rhodes piano against Chuck Rainey's basslines and an orgy of guitars – led by Larry Carlton's brilliant lead work. These are all anchored by Stix Hooper's never out-of-the-pocket, popping kit work. Certainly other acts had used the same instrumentation, but the sheer sophistication in the Crusaders compositions and charts combined with their dedication to grooved-out accessibility – and Stewart Levine's magnificent production – made them a singular entity even in the up-and-coming jazz-rock fusion scene.

Despite her Latin heritage, Joan Baez probably wouldn't have been encouraged by her 1960s record label, the New York-based independent Vanguard, to sing an entire album in Spanish. At A&M Records, the Los Angeles firm co-founded by Herb Alpert that she joined in the early '70s, however, it would have been a different story, and it was A&M that released Gracias a la Vida ("Here's to Life") in 1974. Baez demonstrates an affinity for Mexican folk music on such obvious choices as "Cucurrucucu Paloma," but it's no surprise that, a year after the assassination of leading nueva canción folksinger Victor Jara in a military coup in Chile, an atrocity that shocked the American folk community, she has not backed away from her political commitments…

Joe Louis Walker is the John Henry of the blues, a guy who works hard and isn't afraid to put his back into his music. Hornet's Nest is the man's tenth studio album since the dawn of the 21st century, and not a few journeyman bluesmen would be very, very happy to come up with a session this strong and diverse with twice the time to prepare. Walker and his band are in tight, ferocious form on Hornet's Nest, with Walker's blazing lead guitar work supported by Reese Wynans' rollicking keyboards, Rob McNelley's able second guitar, Tommy MacDonald's rock-solid bass, and Tom Hambridge's aggressive but tasteful drumming. The song list is eclectic, ranging from the hard-edged rock-leaning sound of the title cut, the psychedelic flourishes of "Not in Kansas Anymore," and the soulful, horn-fortified strut of "All I Wanted to Do" to the gospel-influenced moods of "Keep the Faith" and the down-home slide guitar showcase "I'm Gonna Walk Outside." And Walker's taste in covers is commendable, adding doo wop-style vocals to Jesse Stone's "Don't Let Go" and turning the Rolling Stones' "Ride On, Baby" into a roadhouse rocker whose twin-keyboard attack recalls Bruce Springsteen's E-Street Band.

Chrissie Hynde took a long, hard road to rock & roll stardom, but when her band, the Pretenders, finally broke through in 1979, they wasted no time, growing from promising newcomers on the British music scene to major international stardom with a pair of smash albums to their credit in a mere three years. But the Pretenders' meteoric rise came to a crashing halt in 1982, when drug abuse claimed the life of guitarist James Honeyman-Scott and forced Hynde and drummer Martin Chambers to dump bassist Pete Farndon, who would also succumb to an OD in April 1983. Hynde was forced by circumstance to reinvent the Pretenders for their third album, 1984's Learning to Crawl, but if the new edition of the group lacked some of the spark of the band that made the first two LPs, through sheer force of will Hynde created a masterpiece…