While just about every critic and fan has a favorite Roches album that was inexplicably ignored, most will probably agree that Speak was the one that really should have gone gold. All of the ingredients for a huge album are here: emotional yet accessible songs, radio-friendly folk-pop arrangements, and the sisters' usual mind-blowing vocal pyrotechnics. True, the title cut does have harmonies and cadences that are more typical of Bulgarian music, but much of the rest of this album is radio-ready.

Veteran singer Helen Merrill is greatly assisted on this fine set by the warm tenor of Stan Getz, who was always a perfect choice for accompanying vocalists. With pianist Joachim Kuhn (replaced by Torrie Zito on three of the nine songs), bassist Jean-Francois Jenny-Clark and drummer Daniel Humair completing the group, Merrill sounds quite inspired on such selections as "Just Friends," "It Don't Mean a Thing," "Yesterdays" and even "It's Not Easy Being Green."

The composition is a tour de force, written by Handel at the age of 22 to showcase his skill in choral music – which this recording certainly does. Outstanding historically informed performance led by Simon Preston. Of particular note: an inspired rendering of the soprano duet "De Torrente" by Diana Montague and the legendary Arleen Augér.

Karl Richter was regarded as one of the great Bach conductors of the twentieth century, noted for solid regularity in rhythms and a serious approach to the music, though he was not given to following the changing pronouncements of musicologists concerning historical accuracy in performance. He was brought up in the tradition of German Protestant religious music; his father was a minister in the central German regions near where Johann Sebastian Bach had lived. Richter learned piano and organ, and as he approached his 12th birthday entered the Kreuzschule school in Dresden.

These are carefully considered and precisely executed interprations. Nicolet has a warm tone, his excellent breathing technique creates wonderful phrasing.

After being intermittently active during the mid-'80s, Ian Hunter returned full force to the world of rock & roll with this 1989 album. As usual, Mick Ronson plays an important role, making a substantial contribution to the songwriting and supplying an array of tasty guitar licks. The result is a strong outing that brings Hunter's classically styled rock up to date: the standout example of this is "American Music," a heartfelt tribute to the music that inspired "Hunter" as a child that combines power chords with a slickly harmonized chorus to create a punchy slice of pop-flavored rock & roll. YUI Orta is the slickest-sounding album in Hunter's catalog thanks to the efforts of Bernard Edwards, the producer best known for being half of the creative brain trust behind Chic and producing slick outings for the Power Station and Robert Palmer. This pairing might seem odd in concept but it results in an effective sound that rocks hard but offers enough ear candy elements to make the whole package listener friendly. For instance, Edwards adds a serpentine horn riff to "Cool" that cleverly enhances its soulfulness without taming the song's hard rock edge.

Following their massive 1986 European stadium tour for the A Kind of Magic album, Queen took an extended break. Rumors swirled about an impending breakup, but it turned out the break was brought on by a painful marital divorce for guitarist Brian May (who subsequently battled depression and contemplated suicide), and Freddie Mercury being diagnosed with AIDS. Instead of sinking further into misery, the band regrouped, worked on each other's mental state, and recorded one of their most inspired albums, 1989's The Miracle. Lyrically, the songs tend to reflect on the band's past accomplishments ("Khashoggi's Ship," "Was It All Worth It") as well as the state of the world in the late '80s (the title track, "I Want It All").

What I Did on My Vacation is an official compilation album from Ian Gillan, released in 1986 in UK by 10 Records. The album covers Gillan's recordings between 1977 and 1982 and was released in three formats (2LP, CD, MC). All songs from the album had been previously released. Although not credited on the cover, "Scarabus" is preceded by an instrumental piece by Colin Towns, which was used as the intro to "On The Rocks" (from the Glory Road album).

Suddenly, and not before time, the Sixth Symphony of Bruckner is riding high. And deservedly so since it is the tersest of his mature symphonies and the most openly exultant. Unlike the superficially more alluring Fourth, it needs a real musician to direct it, no mere master of orchestral ceremonies. What's more, it needs a Brucknerian with a passion for musical logic, a musical realist rather than a musical romantic. As such it is a work better suited to a Rosbaud, a Klemperer, or a Wand rather than someone like Jochum or Furtwangler however inspirational they may be at certain critical moments in the score.

By the time Cutting Crew released their second album in 1989, they were viewed as irrelevant by both critics – who always despised them anyway – and the fickle public that elevated "(I Just) Died in Your Arms" and "I've Been in Love Before" onto the pop charts two years earlier. The cold shoulders which welcomed The Scattering were most likely due to the lack of immediately catchy songs; nevertheless, while The Scattering doesn't have ear candy like the band's hit singles, the music is less-blatantly commercial and more personal. It's still slick stuff – big '80s synthesizers, glossy FM radio guitars, in-your-face drums – but Nick VanEede's vocals have a frosty glow that creates a mood and sustains interest.

Salvatore Accardo is an outstanding Italian violin virtuoso, best known as a master of the works of Niccolò Paganini, but equally accomplished across a wide variety of repertory for the instrument. His playing is characterized by a taut, visceral tone and a disciplined musical approach that avoids self-indulgence. Having also established himself as a successful conductor, chamber musician, and teacher, Accardo may be considered one of the most accomplished and influential musicians of his generation.

The standard nonet – consisting of five wind instruments (flute, oboe, clarinet, horn, bassoon) and four stringed instruments (violin, viola, cello, double bass) – is the mid-size SUV of chamber ensembles: hefty enough to produce pseudo-orchestral horsepower, but still maneuverable enough to accelerate from zero to sixty at a respectable clip. Nowhere are its virtues more evident than in this 1989 album from Ensemble Wien-Berlin (a super-group of principal players from the Berlin and Vienna Philharmonics, formed earlier in the decade), whose jocular interplay and burnished blend bring shine to two of the finest works written for the nonet, Louis Spohr’s seminal 1813 Nonet in F and Bohuslav Martinu’s zingy, neo-classical Nonetto No. 2.