Brilliant in spite of its ragged texture, Cassandra Wilson's Silver Pony justly illuminates the important influence Wilson has had on all jazz vocals, since her artistic breakthrough with 1993's Blue Light 'Til Dawn (Blue Note). A sharp solution of live and studio performances, Silver Pony reveals the depth and breadth of both Wilson's enigmatic singing and instrumentation, that rich Delta organic approach disseminating throughout all of jazz vocals of the past 20 years. Always close to the blues, Wilson puts forth an extended live "Saddle Up My Pony," originally recorded by Charlie Patton in 1929, that succinctly frames her earthy method.

Cassandra Wilson has explored a lot of experiences, a lot of music, and that is testament to her curiosity, imagination, and intellect; and her album Another Country, created in collaboration with Fabrizio Sotti, has an elegance that is thoughtful and timeless. Cassandra Wilson’s song “Red Guitar” is painterly, poetic, its instrumentation classical and bluesy, with drumming that is precise and lively, whereas “No More Blues,” a song of determination in which misery is shown the door, is itself a light blues tune with finger-snap rhythm, a slowed-down beat with jangling assets, mellow, verging on strange. (“Just like Frank, I’m gonna do it my way,” Wilson says, an aside acknowledging Sinatra.) “O Sole Mio,” mellow, a little melancholy, has a Latin flavor; and, the Italian-language composition, a popular Neapolitan tune sung by Enrico Caruso and Mario Lanza, is here given a casually propulsive syncopation, and is pretty, possibly beautiful, followed by the meditative instrumental “Deep Blue.”

Arthur Grumiaux's performances of Mozart, whether of the violin concertos, the sonatas, or various chamber pieces with violin, were marked by patrician elegance and an unfailing sense of style. For this 1973 recording of the string quintets, arguably the summit of Mozart's chamber output, Grumiaux surrounded himself with musicians of a similar stripe, and the result remains among the treasures of the catalog. By today's standards, the performances may sound just a bit laid-back and relaxed, but the ensemble is marvelous, and the beauty of tone Grumiaux and company achieved in these readings has rarely been approached on disc since.

The first part of the sacred singspiel Die Schuldigkeit des ersten Gebots, which was first performed in the Knights’ Hall of the Archbishop of Salzburg’s Palace on 12 March 1767, represents Mozart’s first extended dramatic work. He was eleven years old when he wrote it. Even without making allowances for the composer’s remarkable youth, Mozart’s music for the first part of Die Schuldigkeit des ersten Gebots is highly accomplished, full of descriptive flair and artistry. The allegorical figures of Barmherzigkeit and Gerechtigkeit are clearly differentiated, the former’s sympathetic compassion contrasting with the latter’s more matronly severity, while Weltgeist’s carefree hedonism is given full reign in arias of considerable virtuosity and difficulty.

CrazyShow is a limited-edition (2500 copies) four-CD album by Alphaville, composed of new material as well as rare and remixed tracks, and three cover versions ("Do the Strand" by Roxy Music, "Something" by George Harrison", and "Diamonds Are Forever" by Don Black & John Barry). It's considered to be a sequel to the eight-CD album Dreamscapes, and as such the discs are numbered from 9 to 12.

Catching Rays on Giant is the 6th studio album by Alphaville, and it was released on November 19, 2010 in Europe.

Rising - is the second studio album by the British hard rock band Rainbow, released in 1976. In issue 4 of Kerrang! magazine, Rising was voted as the number 1 album of all time.