With the creation of her Lana Del Rey persona, singer/songwriter Lizzy Grant stitched together the iconography of a fading American dream with soaring but melancholic pop songwriting, becoming an icon unto herself in the process. Her distinctive approach blurred sadness and longing just as it did past and present, drawing on the influence of classic American pop while integrating modernized touches like trap beats and millennial cultural references. With sixth album Norman Fucking Rockwell!, Lana Del Rey expands her vision with the most daring and vulnerable work of her catalog.

It's almost a blessing that, for legal reasons, this four-piece can't call itself Black Sabbath. It only serves to hammer home the point that with Ronnie James Dio up front and Vinny Appice in back, Tony Iommi and Geezer Butler express a very different side of their musical personalities than they ever did with Ozzy Osbourne on vocals and Bill Ward on drums. Where the original lineup was an ultra-heavy blues band, with a rhythm section that never failed to swing (OK, they failed a little bit on "Sweet Leaf"), when Dio came on board in 1980 the group was reinvented as a heavy metal juggernaut.

Ronald Stevenson, unknown to many outside the British isles, is considered by several pianists as one of the most important pianist-composers of the 20th century. This new album by Peter Jablonski includes several world première recordings from the Scottish composer. Following the tradition of many great pianists, Stevenson created piano transcriptions from the works of other composers and also wrote music in a variety of styles. This album offers a compelling portrait of the Scottish piano master.

Sgt. Pepper's Lonely Hearts Club Band is a double album produced by George Martin, featuring covers of songs by the Beatles. It was released in July 1978, as the soundtrack to the film Sgt. Pepper's Lonely Hearts Club Band, which starred the Bee Gees, Peter Frampton and Steve Martin.

Sergey Taneyev's music was acclaimed by some as a 'model of pure style and sublime art', but he was a loner whose supreme mastery of European Classical technique placed him outside the more nationalist trends of the day. The Violin Sonata in A minor is neo-Classical in its reserved and often song-like moods and expressions. It contrasts with the grand scale of the Piano Quintet in G minor in which the virtuoso nature of the piano writing reflects Taneyev's own prowess, and the brilliant integration of the works' themes cumulate into an overwhelming conclusion.

The repertoire for recorder slowly dissipated after the Baroque era only emerging occasionally throughout subsequent eras but becoming reliant on transcriptions primarily thereafter. The La Cicela Ensemble's 'Naples 1759' spotlights works for recorder and chamber ensemble that did emerge ever so briefly and in small quantity during 1759 though the provenance of these pieces are not entirely certain, with some speculated to have been written earlier; still, these world premiere recordings in the hands of La Cicela directed by the recorder player Inês D'Avena are given a spirited performance.

Although Whitesnake's late-'80s era is its best known (when the group scored a steady stream of hits in the Led Zep and power ballad mold), longtime fans know that the band was around for several years previously, issuing albums that sold well in Europe but were largely ignored in the States. The 12-track compilation Best focuses entirely on Whitesnake's early era. Although these tracks aren't as renowned as "Still of the Night" and "Is This Love?," quite a few longtime Whitesnake fans prefer the group's earlier, more straightforward hard rock direction, akin at times to Deep Purple's 1973-1975 sound (which shouldn't come as a surprise, since three Purple alumni, singer David Coverdale, keyboardist Jon Lord, and drummer Ian Paice were also Whitesnake members).