On his third album, Jackson Browne returned to the themes of his debut record (love, loss, identity, apocalypse) and, amazingly, delved even deeper into them. "For a Dancer," a meditation on death like the first album's "Song for Adam," is a more eloquent eulogy; "Farther On" extends the "moving on" point of "Looking Into You"; "Before the Deluge" is a glimpse beyond the apocalypse evoked on "My Opening Farewell" and the second album's "For Everyman." If Browne had seemed to question everything in his first records, here he even questioned himself. "For me some words come easy, but I know that they don't mean that much," he sang on the opening track, "Late for the Sky," and added in "Farther On," "I'm not sure what I'm trying to say." Yet his seeming uncertainty and self-doubt reflected the size and complexity of the problems he was addressing in these songs, and few had ever explored such territory, much less mapped it so well. "The Late Show," the album's thematic center, doubted but ultimately affirmed the nature of relationships, while by the end, "After the Deluge," if "only a few survived," the human race continued nonetheless. It was a lot to put into a pop music album, but Browne stretched the limits of what could be found in what he called "the beauty in songs," just as Bob Dylan had a decade before.

The first-ever single-disc anthology of Queen drummer Roger Taylor's solo material, 2014's Best brings together tracks off all five of his studio albums. The collection follows-up the more exhaustive 2013 box-set, The Lot, and features cuts from 1981's Fun in Space, 1984's Strange Frontier, 1994's Happiness?, 1998's Electric Fire, and 2013's Fun on Earth. While primarily known for his commanding drum presence with Queen, Taylor is also a strong rock singer and talented songwriter, responsible for penning such Queen hits as "Radio Ga Ga," "Breakthru," "These Are the Days of Our Lives," and others. Vocally, Taylor has a throatier, more gravelly presence on the microphone than Queen's highly resonant, operatic frontman Freddie Mercury. In that sense, he often brings to mind the sound of such similarly inclined contemporaries as the Who's Roger Daltrey, Mott the Hoople's Ian Hunter, and Deep Purple's Ian Gillan. Perhaps not surprisingly, many of the cuts here sound like they could easily have ended up on a Queen album, and tracks like "Let’s Get Crazy," "Man on Fire," and "Strange Frontier" showcase the same synth-driven, pop/rock approach Queen was championing in the '80s.

With the outfit's four members hailing from Stockholm, Åmål, and Gothenburg, My Brother The Wind is a fully improvisational cosmic rock collective consisting of members of widely known Swedish acts Makajodama, Magnolia, Animal Daydream and most notably Anekdoten, one of the more widely recognized names in the 1990s prog rock revival. Those who frequent the works of Popol Vuh, Amon Duul, Sun Ra, Träd, Gräs Och Stenar, Ash Ra Tempel, Gong, Pink Floyd and other visionary, psychedelic rock artists are advised to investigate this act.

A new release by the multi-award winning Russian violinist Roman Mints. Each piece on this recording has been chosen by the artist for very personal reasons. It includes the notable premiere of Dobrinka Tabakova’s Spinning a Yarn, for violin and Russian Hurdy-Gurdy (kolesnaya lira) written especially by the composer for Roman Mints. The recording premieres the use of Spatial Orchestration, a concept created by Mints to give the listener a unique understanding of each track. To find the right sound for each piece of music, Roman has used different place settings for the microphone, as well as moving his instrument around the studio, allowing his personal interpretation to enhance the final experience.

2014 reissue of the Wilson sister's 2004 & 2010 albums with bonus tracks. Jupiters Darling is the thirteenth studio album by the American rock band Heart, released in 2004 through the label Sovereign Artists. This album continued the move back to Heart's hard rock and folk rock roots. It peaked at number 94 on the U.S. Billboard 200. Red Velvet Car is the fourteenth studio album by American hard rock band Heart, released worldwide on August 31, 2010 by Legacy Recordings. It peaked at No. 10 on the US Billboard 200 chart, and at No. 3 on the US Rock Albums Chart, making it Heart's first top 10 hit in two decades.

Fans of King Crimson, Univers Zero and Magma, pay attention: Happy Family is one of the best bands currently happening in Japan right now. Furious riffing, noisy angular drumming, intense energy and top-notch musicianship is what they're about. Their guitar work is in the vein or Robert Fripp; the keyboards recall either Univers Zero or Magma (depending on what passages you're hearing); the fretless bass work will no doubt remind you of the Magma/Zeuhl fusion sound; and the drumming will instantly recall Bill Bruford or Daniel Denis of Univers Zero. Throw in a bit of heavy metal, some Japanese goofiness and you're in for quite a sonic ride.

Simple melodies appealingly and tenderly hover over richly figured harmonies and seem to drift out into infinity. John Field is the author of these magical nocturnes, and one generation before the much more famous Pole (Chopin) he combined strongly expressive romanticism with an extraordinary keyboard intuition. Stefan Irmer performs on volume 1 of the complete nocturnes of John Field. Field never viewed his works as finished; every time he performed them he added something new to them – inspired by the circumstances, the public, and the atmosphere of the moment. For this reason, some of his nocturnes have been transmitted in significantly different versions. Stefan Irmer rises to this challenging piano adventure: employing musical means from our times, he continues Field's music, adding his own ideas to it. Influences from jazz and tango are also in evidence.

In 1980 Zanov began working on a fourth album, but lacking time needed for such a creation, he decided in 1983 to take a break, vowing to resume one day. In 2014 Zanov got an Arturia Origin synthesizer and digitalized all of his recordings from 1983. He modified and completed these recordings to recreate the sound environment. Featuring a dazzling display of electronic instrumental music sounds, Virtual Future sounds like a throwback to the late 1970s.