Ur Musig (1993) Cyrill Schläpfer, Rees Gwerder, Jakob Alder, Jakob Duesel

Phenomena is a rock concept around a supergroup formed by record producer Tom Galley, Metalhammer magazine founder Wilfried Rimensberger and Tom's brother, Whitesnake guitarist Mel Galley. Contributors were leading rock musicians such as Glenn Hughes, Brian May, Tony Martin and John Wetton amongst others. In a cover story, run by Kerrang! magazine in 1985, Phenomena's production of rock songs based on a story line running through a whole album, attached to artworks and other multi-media aspects was credited for the "return of the concept album" in the 1980s.

Phenomena is a rock concept around a supergroup formed by record producer Tom Galley, Metalhammer magazine founder Wilfried Rimensberger and Tom's brother, Whitesnake guitarist Mel Galley. Contributors were leading rock musicians such as Glenn Hughes, Brian May, Tony Martin and John Wetton amongst others. Phenomena released three albums in the 1980s and early 1990s, and had a number one hit single in South America with "Did It All For Love", while the album charted across Europe, in Japan and Brazil. More albums followed without the involvement of Rimensberger and released under the branding of 'Tom Galley, the creator of Phenomena'. The latest, Awakening, was released in March 2012. Whilst all were well received, they were not comparable to the original Phenomena.

Stand Up is the second studio album by the British rock band Jethro Tull, released in 1969. Stand Up represents the first album project on which Anderson was in full control of the music and lyrics. The result was an eclectic album with various styles appearing in its songs, yet an album which remained somewhat in the blues rock mould, which would be the last such album from Jethro Tull. The album quickly went to number 1 in the UK charts.

Jethro Tull's second album-length composition, A Passion Play is very different from – and not quite as successful as – Thick as a Brick. Ian Anderson utilizes reams of biblical (and biblical-sounding) references, interwoven with modern language, as a sort of a rock equivalent to T.S. Eliot's The Wasteland. As with most progressive rock, the words seem important and profound, but their meaning is anyone's guess ("The ice-cream lady wet her drawers, to see you in the Passion Play…"), with Anderson as a dour but engaging singer/sage (who, at least at one point, seems to take on the role of a fallen angel).

This 21-song set is representative of Roy Wood's always inventive work with the Move, Wizzard, and as a solo artist. It contains no fewer than three U.K. number one hits, in addition to the seasonal "I Wish It Could Be Christmas Every Day," and which usually makes a chart appearance during the holidays. And the sound quality is uniformly fine, which certainly hasn't been the case with some reissues like The Best of & the Rest of Roy Wood & Wizzard, which is something of a companion piece to this disc. The songs range from the strongly Beatles-influenced early Move singles ("Blackberry Way") to their heavier, later material ("California Man" and "Brontosaurus," both of which have been covered by Cheap Trick) to the Phil Spector homages of Wood's rock & roll big band Wizzard ("See My Baby Jive," "Ball Park Incident," and "Angel Fingers") to sumptuous solo pop confections ("This Is the Story of My Love"). A gifted writer, arranger, and producer, Wood is an underappreciated original whose music should appeal to any fan of classic rock and pop.

AAM releases the final volume of an acclaimed project to record Mozart’s complete works for keyboard and orchestra. Fittingly, this final instalment includes three works that in various ways are valedictory: K595 is Mozart’s last completed keyboard concert, while K503 is the last concerto of his Viennese years. Louise Alder joins AAM and Robert Levin in an aria for solo soprano, solo keyboard and orchestra; Ch’io mi scordi di te? is a farewell to one of Mozart’s favourite singers, Nancy Storace.

It's never easy to be the sibling of a star when you're active in the same profession - ask Joey Travolta or Frank Stallone, and try to find out what happened to John Murray, one of Bill's brothers. Similarly, David Knopfler, younger brother of Dire Straits frontman Mark Knopfler, has often remained in his brother's shadow, unfairly remaining a footnote in the famous British band's history and not always gaining much recognition for his solo work - provided people know he's remained active in music at all. The comparison to the abovementioned actors is misleading, however, since they all possess little of their siblings' talent, whereas David Knopfler has proven himself to be a talented musician with considerable songwriting skills of his own and several strong solo releases under his belt…

It's never easy to be the sibling of a star when you're active in the same profession - ask Joey Travolta or Frank Stallone, and try to find out what happened to John Murray, one of Bill's brothers. Similarly, David Knopfler, younger brother of Dire Straits frontman Mark Knopfler, has often remained in his brother's shadow, unfairly remaining a footnote in the famous British band's history and not always gaining much recognition for his solo work - provided people know he's remained active in music at all. The comparison to the abovementioned actors is misleading, however, since they all possess little of their siblings' talent, whereas David Knopfler has proven himself to be a talented musician with considerable songwriting skills of his own and several strong solo releases under his belt…

Jakob Lindberg was born in Sweden and developed his first passionate interest in music through the Beatles. After studying music at Stockholm University he came to London to study at the Royal College of Music. Under the guidance of Diana Poulton he decided towards the end of his studies to focus on Renaissance and baroque music.