The casual observer might be surprised that 2004's The Best of Gary Hoey does not consist of a bunch of Christmas music culled from his Ho! Ho! Hoey albums, but as this 18-track collection proves, there's more to the high-riding guitar virtuoso than chop-laden versions of seasonal classics. There are also covers of classic oldies like "Low Rider," "Wipeout," "Linus and Lucy," Pink Floyd's "Money," "Misirlou," and "Frankenstein," along with a bunch of original material that functions as a vessel for Hoey's relentless playing.

If you like attractive, expertly performed music for plucked strings, then these original compositions and arrangements of Italian renaissance works for chitarrone, chitarra spagnola (five-course Spanish guitar), and arpa doppia (double harp) will surely delight. Every work here is pleasant and tuneful–a few even aspire to greater musical heights. Frescobaldi's Partite Sopra Passacalgli, for example, benefits from Stephen Stubbs and Maxine Eilander's arrangement, which, while sacrificing a measure of the harpsichord's original edge, nonetheless heightens the chromaticism and texture of the evolving fugue.

With his voice in its heady first bloom, Fischer-Dieskau dramatises rather than merely relates. In the third song, "Ich wandelte unter den Bäumen", he is dulcet at the opening, finds a disembodied colouring for the mysterious birdsong, and then uses a harder, darkened tone to convey the mingled disillusion and defiance of the close. Elsewhere, Fischer-Dieskau combines a yearning legato with an edge of neurosis in "Schöne Wiegen meiner Leiden", hauntingly catches the numbed fear of "Lieb' Liebchen" - where Heine equates his heartbeat with a carpenter hammering his coffin - and sings the final "Mit Myrthen und Rosen" with rueful tenderness.

You know what lays ahead whenever you embark on listening to a new Kreator studio album, and 2009's Hordes of Chaos is certainly no different. And that isn't meant as a knock on the band - heck, Kreator should be commended for sticking to their guns and continuing on in the same "thrash-happy" style since pretty much their inception (without bowing down to musical trends). So, that said, you can make up your own "Kreator checklist": growled vocals and intense riffing (the album-opening title track), lightning-fast tempos ("Warcurse"), tasty dual-guitar work ("Destroy What Destroys You") - it's all represented here, folks. It's been nearly four long years since Mille Petrozza and friends issued an all-new studio album, and Hordes of Chaos should most definitely meet the needs of Kreator diehards worldwide.

If ever there was a baritone voice made for this music, Bo Skovhus’s is it…Except for the Lange-Müller and Malling items here making their debut on disc, most of the songs on this CD have been recorded before, but mainly in mixed programs, and not, in my opinion, as consistently well sung and beautifully played as they are on this Chandos release. Bo Skovhus is phenomenal, and the Danish National Symphony Orchestra under the baton of Michael Schønwandt is equally magnificent. This is a must-have CD.

Two full decades after the release of 1986's underestimated Seventh Star album, Black Sabbath guitarist Tony Iommi and journeyman vocalist/bassist Glenn Hughes (Trapeze, Deep Purple, etc.) decided the time had come for them to work together once again. Ensconcing themselves in Birmingham's DEP Studios, the duo composed and recorded eight tracks for release, but when Iommi was suddenly called into action with a re-formed and regularly touring original Sabbath, the work in progress was abandoned, filed away, and then, naturally, quickly bootlegged under the imaginative title of Eighth Star.

Electric Food is the self-titled album of Electric Food, a studio project that included (uncredited) singer George Mavros with musicians from Lucifer's Friend that released two albums in 1970, the other being Flash. Flash is the second and final album by Electric Food. Soon after its release, the core of band formed Asterix and recorded one album: Asterix. Less than a year later Asterix would change their name to Lucifer's Friend. In 2004 Electric Food and Flash were released on one CD by Mason Records. Both Electric Food albums sound very similar to Lucifer's Friend's debut but include strong influences from Led Zeppelin, Uriah Heep, and Spooky Tooth.

Released not long after A-Ha’s twentieth anniversary, Singles 1984-2004 rounds up 19 of the group’s A-sides, beginning with 1985’s international number one hit single “Take on Me” and concluding with 2002’s “Lifelines.” In the U.S., A-Ha are often seen as the quintessential MTV-driven new wave one-hit wonder - the pen-and-ink animation of “Take on Me” defining an era - but the group had a long, fruitful career as hitmakers in Europe, and this collection presents an excellent overview of that career, containing such continental smashes as “The Sun Always Shines on TV,” “Hunting High and Low,” “I’ve Been Losing You,” “Cry Wolf,” “The Living Daylights,” “Stay on These Roads,” “Crying in the Rain,” “Summer Moved On,” and “Forever Not Yours.” It may not be enough to win over skeptics but it’s more than enough to prove that A-Ha were not one-hit wonders, and it will surely satisfy anybody who is wanting a solid collection of their biggest hit singles.

Of Brahms' symphonies, his Symphony No. 2 in D major is the sunniest, a vibrant and rhythmically supple work overflowing with ardent melodies, joyful syncopations, and robust brass writing. Yet for all its brightness, Brahms' orchestration can be quite problematic, since his frequent doublings of winds and strings and scoring for full sections are in constant need of a conductor's subtle refinements. Hans Vonk and the Netherlands Radio Symphony Orchestra give the work a rich and warm performance, with great attention paid to the pacing and shaping of movements. However, the orchestral sound is rather dense, and there is little sense of graded dynamics or breathing room around the orchestra.

Leonardo Leo (1694-1744) was a Neapolitan composer whom academics have sometimes pushed as the missing link between Pergolesi and the full flowering of the early Classical style. Niccolò Jommelli and Gluck Piccinni were among his students, and his own operas feature smooth, lightly accompanied arias that do seem to look forward to the spirit of Gluck and even Mozart. Several recordings of the early 2000s have unearthed his almost-forgotten instrumental music, with liner notes chiding listeners (in the words of the present disc) "so entirely enamored with Vivaldi…that they have ignored music derived from other circles or styles."