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A sequel of sorts to ABKCO’s three boxes of singles replicas from the mid-2000s, Universal’s The Singles: 1971-2006 is a gargantuan 45-disc box set that offers single replicas of every 45 the Rolling Stones released between Sticky Fingers and A Bigger Bang…

Five years after first conducting the Simón Bolívar Youth Orchestra in their Venezuelan home, Claudio Abbado continues his commitment to this stunning ensemble in this first joint audiovisual concert recording. Prokofiev's extrovert Scythian Suite is a gift for the boundless energy of these young players, while the intricacy and anguish of Berg's Lulu-Suite are an Abbado speciality, with soprano Anna Prohaska, in her Lucerne Festival debut, singing the heroine's dazzling statement of self-justification. The concert ends with an impassioned account of Tchaikovsky's Pathétique, his final symphony, one of the most moving works in music history.

Byther Smith stands today as one of the most important links to the heady days of mid-50s Chicago blues. "Got No Place to Go" presents the man in concert with all his intensity and raw power learned from his years playing with greats such as Otis Rush, Junior Wells, Howlin' Wolf, Robert Lockwood and Big Mama Thornton. This Fedora recording finds him at the very peak of his powers: a fiery spark plug of a man, stepping to the microphone, and in a full, gospeldrenched voice, barking the lyrics to Otis Rush’s Keep On Lovin’ Me Baby like commands then stepping back and discharging a series of clear, surprisingly fat-toned notes from his Stratocaster, turning the dancers into watchers, and the watchers into people standing, whistling, and applauding.

Having reinvented himself as a bionic soulboy across the course of 1974's Zinc Alloy, Bolan's Zip Gun was less a reiteration of Marc Bolan's new direction than a confirmation of it. Much of the album returns to the understated romp he had always excelled at – the delightful knockabout "Precious Star," the unrepentant boogie of "Till Dawn" and the pounding title track all echo with the effortless lightheartedness which was Bolan at his most carelessly buoyant, while "Token of My Love" is equally incandescent, a playful blues which swiftly became a major in-concert favorite. But the essence of Zip Gun remains firmly in the funky pastures which characterized Zinc Alloy, with the only significant difference lying in the presentation.

This CD is a rocking session most notable for the strange voice of Preacher Boy, who makes Louis Armstrong sound like a tenor. Preacher Boy (listed as playing various guitars, mandolin, bass guitar, mellotron, banjo, accordion, organ, piano, melodica, corn whiskey jug, tamborine, washboard, trumpet, wrench and egg) is joined by a colorful and versatile group for a set of originals. Listeners who can get used to the leader's very raspy bullfrog voice (which dominates the music) will find this spirited program of rockish blues to have some moments of interest.