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After two studio albums, Black Country Communion (a rock group featuring ex-Deep Purple singer/bassist Glenn Hughes, Jason Bonham, Joe Bonamassa, and ex-Dream Theater keyboardist Derek Sherinian) release a live DVD/BluRay: Live Over Europe gathers material from four concerts played in Germany (in Munich, Berlin, and Hamburg) in the summer of 2011. The set list mostly consists of songs from the two studio albums (almost all songs from the sophomore album 2 are included here) and adds Bonamassa's "The Ballad of John Henry" and the Deep Purple classic "Burn." Apart from the live show, which was recorded with 14 HD cameras, the disc includes a 20-minute documentary and a photo gallery.

Nostalgia: An Evening with Annie Lennox captures one of music’s most popular and acclaimed artists in her only full concert performance of songs from her Grammy-nominated Nostalgia album. Fronting a 19-piece band – including string and horn sections – and unveiling striking lighting and production elements created especially for this concert, Lennox demonstrates her distinctive vocal and performance talents on an array of classic American standards, ranging from “Summertime,” “Georgia On My Mind”, “Strange Fruit” and “God Bless The Child” to one of rock’n’roll’s most enduring classics, “I Put A Spell On You.” As she does on her Nostalgia album that spawned this one-of-a-kind concert, the singular approach Lennox brings to these classics enables them to resonate for a 21st Century audience. The artist concludes her extraordinary show with a four-song selection of her own hits performed solo at the piano, including “Here Comes The Rain Again,” “No More I Love You’s,” “Why” and “Sweet Dreams."

Rush began life as a power trio in the Led Zeppelin/heavy rock mode. Over the years the band refined their musical vision as they gained both instrumental and conceptual facility. 1978's HEMISPHERES marks their transition from heavy riff-mongers to full blown art-rockers…

Conventional wisdom holds that the Beatles intended Abbey Road as a grand farewell, a suspicion seemingly confirmed by the elegiac note Paul McCartney strikes at the conclusion of its closing suite. It’s hard not to interpret “And in the end / the love you take / is equal to the love you make” as a summation not only of Abbey Road but perhaps of the group’s entire career, a lovely final sentiment. The truth is perhaps a bit messier than this. The Beatles had tentative plans to move forward after the September 1969 release of Abbey Road, plans that quickly fell apart at the dawn of the new decade, and while the existence of that goal calls into question the intentionality of the album as a finale, it changes not a thing about what a remarkable goodbye the record is.