The Album 2001

Apollo e Dafne was probably begun in Venice in 1709, but was not completed until after Handel’s arrival in Hanover in 1710, to take up his appointment as Kapellmeister to the Elector. The instrumentation is more colourful than usual, and in addition to the usual strings Handel added a flute, a pair of oboes and a bassoon. The musical structure is relatively simple, with a succession of emotionally varied da capo arias and a pair of duets for the two main characters, Dafne, a soprano, and Apollo, a bass. Since Handel’s original overture has not survived, this performance is prefaced by the opening movement of his Concerto Opus 3, No.1, which was probably composed at the same time.

By the time this was released in 2001, John Mayall was more known for the people who played in his seminal British band, the Bluesbreakers rather than his own accomplishments. The success of 1999's Padlock on the Blues afforded Mayall the opportunity to fulfill his dreams and gather an all-star lineup of blues and rock luminaries. "A World of Hurt" and "That's Why I Love You So" both typify the good but not great groove that permeates Along for the Ride. Better tracks "Yo Yo Man" and "Early in the Morning" are easygoing blues that feature the great rhythm section of John McVie and Mick Fleetwood. Fellow Fleetwood Mac and Bluesbreaker alum, the reclusive Peter Green plays acoustic slide guitar on "Yo-Yo Man."

One of the bastions of progressive rock and an innovator in the use of keyboards in rock music, former Yes keysman Rick Wakeman is a true musical pioneer. The 2001 live album Out Of The Blue spotlights the man in all his synthesizer glory, each track an epic in itself. It is also evident that he has influenced nearly every keyboard player in the progressive rock and metal field. Performing with Wakeman at this concert, recorded at the Teatro Coliseo in Buenos Aires, are vocalist Damian Wilson (Ayreon, Threshold), drummer Tony Fernandez (The Strawbs), guitarist Ant Glynne, bassist Lee Pomeroy, and Wakeman’s son and fellow keyboardist Adam Wakeman.

The second half of the '90s was difficult for the Cranberries, not just because of changing fashions, but because the group embraced both a social consciousness and a prog rock infatuation, crystallized by the Storm Thorgerson cover of Bury the Hatchet. Thorgerson has been retained for their fifth effort, Wake Up and Smell the Coffee, but the group has hardly pursued the indulgent tendencies of their previous collaboration with him – instead, they've re-teamed with producer Stephen Street and come up with an album that's as reminiscent of their debut as anything they've done since. So, even if it's wrapped in new clothing, this is essentially a return to basics, and it's a welcome one, since it's melodic, stately, and somber – perhaps not with the post-Sundays grace of "Linger," but with a dogged sense of decorum that keeps not just the group's musical excesses in check, but also O'Riordan's political polemics (although she still sneaks in cringe-inducing lines like "Looks like we've screwed up the ozone layer/I wonder if the politicians care").

The Collection is a compilation album for the new wave/dance diva best known for her 1982 hit 'Kids in America'. This collection basically sums up the second half of Kim Wilde's career. Includes 18 tracks: 'You Came', 'Never Trust a Stranger' and more.