Joel R. Beeke,christopher W. Bogosh

Recording The Nylon Curtain exhausted Billy Joel, and even though it had a pair of major hits, it didn't rival its predecessors in terms of sales. Since he labored so hard at the record, he decided it was time for a break – it was time to record an album just for fun. And that's how his homage to pre-Beatles pop, An Innocent Man, was conceived: it was designed as a breezy romp through the music of his childhood. Joel's grasp on history isn't remarkably astute – the opener "Easy Money" is a slice of Stax/Volt pop-soul, via the Blues Brothers (quite possibly the inspiration for the album), and the label didn't break the pop charts until well after the British Invasion – but he's in top form as a craftsman throughout the record.

Impressive debut album from an incredible young artist who has been omnipresent on acclaimed recent albums by Makaya McCraven (Universal Beings), Walter Smith III (In Common), Marquis Hill (Modern Flows, Vol. 2), and James Francies (Flight). Milt Jackson was a formative influence, Bobby Hutcherson passed him some sage advice, and Stefon Harris was his mentor & teacher. Now Joel carries the Blue Note vibraphone legacy into the future on an album that finds him exploring the formative stuff that made him the man he is, first and foremost, family. The centerpiece and title track is dedicated to his mother, while other compositions pay homage to Ross’ twin brother, father, and niece.

As one of the biggest-selling artists of all time, perhaps it was only a matter of time before Billy Joel was subjected to a romantically themed collection, and so came She's Got a Way: Love Songs, released just in time for Valentine's Day 2013. This 18-track collection reveals an odd truth about Joel: he didn't write all that many love songs. A few of his biggest hits are love songs but only a few: the early song "She's Got a Way," which wasn't a hit until its Songs in the Attic incarnation in the early '80s; "Just the Way You Are," an unabashedly romantic soft rock staple that helped make him a star in the mid-'70s; "This Is the Time," a gently nostalgic song from The Bridge; "The Night Is Still Young," an added cut to 1986's Greatest Hits, Vols. 1 & 2.

Piano Man gave Billy Joel his long-desired big hit, but it also somewhat threw him for a loop. He had been driven on Piano Man, determined to deliver an album that established him as both a serious artist and a commercial contender. Having achieved at least one of those goals (critics never gave Joel much credit), he had to release another album quickly if he wanted to keep his profile high, which he did. The problem is, Joel had put all of his best songs on Piano Man, leaving him with a shortage of material. Furthermore, promotional duties ate up his time, leaving him little to write new songs. As a result, Streetlife Serenade, the crucial third album, was a bit of a slump. Stylistically, it was a reiteration of its predecessor's Tumbleweed Connection obsessions, spiked with, of all things, Rockford Files synthesizers and ragtime pulled from The Sting…

Originally recorded in 1989, The Sacred Bridge contains a speculative program linking various genres of Christian and Jewish religious music, most of it medieval. The Boston Camerata continued to perform the program in various forms in subsequent years.

Although it's missing a few important (not to mention big) hits, Greatest Hits, Vols. 1 & 2 is an excellent retrospective of the first half of Billy Joel's career. Beginning with "Piano Man," the first disc runs through a number of early songs before arriving at the hit-making days of the late '70s; some of these songs, including "Captain Jack" and "New York State of Mind," weren't strictly hits, but were popular numbers within his stage show and became radio hits. Once the songs from The Stranger arrive halfway through the first disc, there's no stopping the hits (although "Scenes From an Italian Restaurant," an album track from The Stranger, manages its way onto the collection). In fact, over the next disc and a half, there's so many hits, it's inevitable that some are left off – to be specific, "Honesty," "Sometimes a Fantasy," "An Innocent Man," "Leave a Tender Moment," and "Keeping the Faith" aren't included.

Lakmé, Delibes greatest opera, is performed by Opera Australia in all its oriental glory. Starring the exquisite coloratura soprano Emma Matthews as the innocent girl priestess Lakmé, and superb tenor Aldo Di Toro as the love-struck Gerald, the story tackles religion and cross-cultural love against a backdrop of British rule in India in the mid-19th century.

Meditative healing music played on Classical Harp. The Higher Powers work through the music with a system of symbolic interpretation which links the outer combination of tones, intervals, chords, and patterns with the inner essence of their meaning.

‘Iberia: Polyphonies Espagnoles et Portugaises de la Renaissance à Aujourd’Hui’ is a musical journey through time across the Iberian peninsula. From the medieval Spain of Alfonso The Wise to that of the Renaissance with Guerrero and Victoria, we are led to the Portugal of Lôbo and Cardoso, masters of the golden age of Portuguese polyphony. The voyage ends with two contemporary creations that continue this tradition, by the Portuguese António Chagas Rosa and the Spaniard Iván Solano.