Guitarist Ritchie Blackmore resurrected the beloved hard rock band Rainbow in 1995 for the album Stranger in Us All. The new lineup – technically named Ritchie Blackmore's Rainbow – was not an all-star who's who of hard rock like the groundbreaking original version with vocalist Ronnie James Dio or the radio-targeted AOR version with vocalist Joe Lynn Turner. All incarnations of Rainbow, even the mid-period lineup fronted by bellower Graham Bonnet, are generally revered in hard rock circles. In its own way, Rainbow's music was just as influential as the music Blackmore made during his years in Deep Purple.

Turkey is a second album by Wild Turkey. Former Jethro Tull bassist Glenn Cornick formed Wild Turkey after departing Tull in 1971. The initial line-up of the band featured Glenn Cornick (bass), Graham Williams (guitar), Alan Tweke Lewis (guitar), John Pugwash Weathers (drums) and Gary Pickford-Hopkins (vocals). Before recording their first album, Weathers and Williams departed the fold to be replaced by Jon Blackmore (guitar & vocals) and Jeff Jones (drums). The album Battle Hymn was released by Chrysalis Records in 1971 and was well received by fans and critics alike. By the time of the bands second album for Chrysalis Records, the line-up had changed again with Mick Dyche replacing Jon Blackmore on guitar and Steve Gurl joining on keyboards.

First Base was British hard rock group Babe Ruth's biggest success, both in terms of popular and critical acclaim. This LP defined an interesting junction between hard rock and progressive rock. The two driving forces behind this album were guitarist Alan Shackloc, who wrote most of the material, and vocalist Janita Haan, who came out as the perfect balance between Janis Joplin and Robert Plant. The album contained "The Mexican," the band's classic song which also includes a theme by western soundtrack composer Ennio Morricone ("Per Qualche Dollaro in Piu").

Each instalment in Neeme Järvi’s Mahler cycle for Chandos has something new to say, but it’s hard to tell whether the insights of this First Symphony outweigh the exaggerations. Is there a valid point being made, for instance, about the first movement – mired in its ‘long sleep of winter’ for much longer than usual? Admittedly the awakening, when it finally comes after an emphatic developmental crisis, is massively impressive. The Scherzo’s central dream sequence drifts woozily, exaggerated even by Bernstein standards; the huntsman’s funeral is intriguingly brisk; and the finale lurches between magic and mannerism, capped by an almost ludicrous victory charge.

Couperin's First Book of harpsichord pieces is a sort of musical house cleaning, representing the publication of a large number of pre-existing works that had already achieved a measure of popularity in manuscript copies. Couperin followed up his success with three more books published at intervals until the very end of his life. Collectively, these 27 suites of pieces (which the composer called "ordres") represent the pinnacle of French keyboard music, and they had a huge influence on subsequent composers, right down to Debussy and Ravel in our century. Christophe Rousset's series is a landmark in Baroque keyboard performance, and a splendid tribute to one of the epoch's greatest masters.

Romanus Weichlein was an Austrian composer and organist of the mid Baroque period who published a set of 12 sonatas for strings and continuo in 1695 entitled Encaenia Musices.In some of the sonatas the strings are joined by 2 trumpets to spectacular effect and it's very clear that these admirable compositions were influenced by Heinrich Biber's Sonatae Tam Aulis Servientes of 1676.Weichlein is believed to have met Biber when in Salzburg and it's quite apparent that Biber was to have a big influence on the slightly younger composer.

Nobody Else is the third studio album by British boy band Take That. It was released on 8 May 1995 in the UK, Europe and Asia. The album includes the singles "Sure", "Back for Good" (which remains the group's most successful song to date) and "Never Forget". It would become Take That's last studio album to be recorded before they disbanded in 1996. Nobody Else also became the last album to feature Robbie Williams until his return to the band in 2010 for Progress. The single release of "Never Forget" in July 1995 marked the departure of Robbie Williams, who started a solo career the following year. The album reached number one in the UK, German, Dutch, Irish, Finnish, Belgian, Austrian, Italian and Swiss charts, and was also released in America by Arista Records on 15 August 1995, albeit with a different track listing. The album has been certified 2× Platinum in the UK. The album sold six million copies Worldwide.

The first 14 of the 16 symphonies chosen span the years 1771, when Mozart was 15, through to 1773, when he produced in the G minor No. 26, his first out-and-out masterpiece among the symphonies. In addition to the regularly numbered works Tate includes the so-called Symphonies Nos. 48 (adapted from the overture to Ascanio in Alba) and 50 (adapted from the overture to Il sogno di Scipione). Then, almost as an appendix to the rest, come two more adaptations from opera overtures, dating from 1775-6, No. 51 (from La finta giardiniera) and No. 52 (from Il re pastore, with an adaptation of an aria inserted).

This album was originally released in 1969 as "First Winter". When Johnny Winter emerged on the national scene in 1969, the hope, particularly in the record business, was that he would become a superstar on the scale of Jimi Hendrix, another blues-based rock guitarist and singer who preceded him by a few years. That never quite happened, but Winter did survive the high expectations of his early admirers to become a mature, respected blues musician with a strong sense of tradition. In 1988, he was inducted into the Blues Foundation Hall of Fame and in 2003, he was ranked 63rd in Rolling Stone magazine's list of the "100 Greatest Guitarists of All Time".

With Destroy Erase Improve, Meshuggah shattered any preconceived notions about what death, thrash, and prog metal could be with one astoundingly accurate, calculated blow. The Swedish outfit managed to surpass their startlingly original, if relatively immature debut, Contradictions Collapse, with a record so pure in concept and execution, it borders on genius. Lyrical themes visualize the integration of machines with organisms as humanity's next logical evolutionary step, while the music backing it up is mind-bogglingly technical, polyrhythmic math metal - the work of highly skilled men with powerful instruments. While the idea looks unwieldy on paper, Meshuggah handles it with a balance of raw guts and sheer brainpower, weaving hardcore-style shouts amongst deceptively (and deviously) simple staccato guitar riffs and insanely precise drumming - often with all three components acting in different time signatures…

Het ensemble Europe Galante, onder leiding van Fabio Biondi, is sinds zijn oprichting in 1989 uitgegroeid tot één van de belangrijkste muziekgroepen op het gebied van de zeventiende- en achttiende-eeuwse Italiaanse barokmuziek. Op het programma staan dan ook verschillende Italiaanse componisten uit die tijd. Francesco Geminiani (1687-1762) en Pietro Locatelli (1695-1764) waren in hun tijd beroemd om hun virtuoos vioolspel. Hun muziek is tegelijk vurig en virtuoos, maar blijft steeds elegant en hoogst melodieus.

Founded by Anatoly Grindenko in the Holy Trinity Sergius Lavra monastery, near Moscow, the Moscow Russian Patriarchate Choir was created in 1980. Following tradition, it is composed of 12 to 13 members. The singers were all eminent researchers, passionate about the repertoire of compositions for male voices, from the religious music of the Orthodox Church to the lay songs of the final years of the Soviet regime. At the time, the choir spent several years deciphering ancient manuscripts and giving representations of works that had until then been in the shadows, sometimes for centuries. With the collapse of the USSR, the choir was able to open up to the world and perform in Europe and America, exposing its music to a much larger public.

In his Second Book of harpsichord pieces, Couperin moves away from the suite form based on a collection of dance movements, to a new conception consisting of a collection of miniatures with fanciful nicknames, some of which are clear, and some of which remain a mystery to this day. Couperin loved the harpsichord–he wrote one of the definitive instructional manuals for the instrument–and this set also includes the eight Preludes that he included in his L'Art de toucher le clavecin. At the time these discs were first issued, it was clear that Christophe Rousset's survey of Couperin's complete keyboard works was setting new standards in this music. His playing is simply magnificent.