Suzi Quatro is a performer as famous for her image as her music; Quatro was rock & roll's prototypical Bad Girl, the woman in the leather jumpsuit with the enormous bass guitar (well, it looked enormous, given that Quatro is only five feet tall), looking sexy but ferocious as she banged out her glam rock hits in her '70s glory days. Quatro is a woman who titled one of her albums Your Mamma Won't Like Me for a reason. But there's more to Suzi Quatro than all that, and she seems determined to show off the full range of her 50-year career in music on the box set The Girl from Detroit City. Quatro is a rocker but she's also a showbiz lifer, and the music spread over these four discs is the work of someone up to do a little bit of everything, and along with Chapman/Chinn thunderboomers like "Can the Can," "49 Crash," and "Daytona Demon," you also get vintage garage rock (three numbers from Quatro's first band, the Pleasure Seekers, including the gloriously snotty "What a Way to Die"), easygoing pop numbers like "Stumblin' In" (her hit duet with Chris Norman of Smokie)…

From Suetonius to Camus, Caligula has constantly inspired historians, poets and playwrights, to the point of becoming a myth: that of madness steeped in cruelty . . . Caligula raves, Caligula is crazed, but his gaze is that of the visionary, his derangement of the senses is an opening towards the fantastical. Now it is precisely that fantastical (and also comical) dimension that is inscribed in the fable set to music Giovanni Pagliardi in Venice in 1672, which Vincent Dumestre brings back to life here. But above all, this portrait of Caligula as a hero of the impossible, a showman of wonders, has been rounded off with an idea that suddenly seems self-evident: Caligula, and all the characters around him, could only be wooden actors , puppets.

Most well-known for his work in the duo No-Man, his long-running partnership with Steven Wilson (Porcupine Tree, Bass Communion), Englishman Tim Bowness established himself throughout the '90s as a singer and musician with an ear for passionate and passionately wry music. His variety and range of musical interests, similar in scope to Wilson's own various explorations, resulted in a series of bands and joint efforts with friends covering everything from experimental, cutting-edge dance music to torch songs and progressive rock.

Marianne Crebassa's new album celebrates her French-Spanish roots. Centered around French composers taking inspiration from Spain and Spanish composers, Séguedilles is a mix of opera arias and songs from composers Bizet, Massenet, de Falla, Mompou, Offenbach, Guridi, Ravel, and Saint-Saëns. It features hits such as the "Habanera" from Bizet's Carmen and Falla's "Vivan los que rien" from La Vida breve. Crebassa portrays 5 strong female characters Carmen, Dulcinée, Concepcion, Périchole, and Salud. She recorded the album with the Choeur & Orchestre National du Capitole de Toulouse conducted by Ben Glassberg.

The fifth Lionville album in 9 years sees a drop in quality in both songwriting and production values from their quite marvellous 4th album and indeed, the 3 that preceded that.

Like David Hill, Jeremy Summerly moves the music of each Mass on fairly briskly until the Sanctus and Agnus Dei, when a poignant contrast. The two motets on which the Masses are based are sung as postludes, and very beautiful they are, especially the idyllic O magnum mysterium. Finally, the short Verse est in Luctum (a setting of a section of the Requim Mass) by Alonso Lôbo, a Spanish contemporary, ends the concert serenely. The recording is excellent and this is a fine bargain.

Göteborg Baroque is pleased to announce the release of Johan Helmich Roman’s Then Svenska Messan, one of the most significant and beloved works in Swedish music history. Roman was a pioneer who was far ahead of his time, and today we see him as the founder of our modern musical culture. Göteborg Baroque has received accolades for its rigorous study and expressive presentation of older music in a way that makes it engaging for an audience today. With this recording, we are proud to be able to introduce this important work to an international audience.

The European Jazz Trio, comprising Marc van Roon on Piano, Frans van der Hoeven on bass and Roy Dackus on drums has been recording and performing since 1995, when it released a CD of Beatles' songs in fresh arrangements. On each album, the trio has taken songs in every style, shape and color, and has given them a jazz interpretation. For the trio 'Jazz' means to have the freedom to combine and mix styles, melodies, sounds and rhythms to create something fresh and surprising. The European Jazz Trio pushes the envelope of jazz music by adding to it its own sound and rhythm, a result of the music that has influenced the trio's members. With every song the trio records the main focus is on the essence and the inner beauty of the composition.

Whether it was the immediacy of recording or some other unexplainable element, Bauhaus always thrived when doing British radio appearances, with no less than five of the 18 tracks collected here seeing official release by the band on singles or albums during its first lifetime. That one of these was Bauhaus' biggest-ever British hit, the completely and perfectly over-the-top rendition of Bowie's "Ziggy Stardust," is further testimony to the band's success at the Beeb. The five show appearances here, including both John Peel sessions and guest spots with other DJs, make for an excellent sampling of the band in many different guises, from obscure rarities to redone versions of some of Bauhaus' most successful songs.

Born in Osaka. The roots are South Korea. When she was in junior high school, she became fascinated by the song of Harry Connick Jr. from the TV commercial and became interested in jazz. Debuted in October 2003 with her album "better than anything". In January 2004, she also succeeded in a solo tour centered on the national Blue Note, which is unusual for a newcomer. Her debut album will be released in Korea and she will visit Korea for promotion. From January 2004, the song "Close to you" will be used for the TV commercial of Toyota Home. The second album "my fairy tale" containing the song was released simultaneously in Japan and Korea in December 2004.

Born in Osaka. The roots are South Korea. When she was in junior high school, she became fascinated by the song of Harry Connick Jr. from the TV commercial and became interested in jazz. Debuted in October 2003 with her album "better than anything". In January 2004, she also succeeded in a solo tour centered on the national Blue Note, which is unusual for a newcomer. Her debut album will be released in Korea and she will visit Korea for promotion. From January 2004, the song "Close to you" will be used for the TV commercial of Toyota Home. The second album "my fairy tale" containing the song was released simultaneously in Japan and Korea in December 2004.

Shawn Lane's solo debut, Powers of Ten, showcases a phenomenally talented guitarist and musician who, unfortunately, doesn't seem to understand his own limitations. Emerging from digital silence with Steve Vai-like drama, "Not Again," the opening song on the record, is typical of the fusiony guitar-driven instrumentals that make up the bulk of Powers of Ten.

"Bird of Paradise" is the debut single by former Thin Lizzy guitarist Snowy White, from his debut album, White Flames, released in 1983. The single became White's biggest hit, peaking at no. 6 on the UK Singles Chart in January 1984, remaining on the chart for 11 weeks…

For Now You See It…Now You Don't, Michael Brecker's third recording as a leader, the tenor great used different personnel on most of the selections but played consistently well. Jim Beard's synthesizers were utilized for atmosphere, to set up a funky groove, or to provide a backdrop for the leader. Some of the music sounds like updated John Coltrane (Joey Calderazzo's McCoy Tyner-influenced piano helps), while other pieces could almost pass for Weather Report, if Wayne Shorter rather than Joe Zawinul had been the lead voice. Most of the originals (either by Brecker, Beard, or producer Don Grolnick) project moods rather than feature strong melodies, but Michael Brecker's often-raging tenor makes the most of each opportunity.

Recorded live in Tokyo on July 14th and 15th, 1963, Nippon Soul is not the Asian-jazz fusion suggested by the title (check out Cal Tjader's Several Shades of Jade and Breeze From the East for that), but a solid live set that showcases one of Cannonball Adderley's finest groups, featuring himself, brother Nat Adderley on cornet, bassist Sam Jones, drummer Louis Hayes, and most notably pianist Joe Zawinul and reedsman Yusef Lateef. Both near the beginnings of their careers, Zawinul and Lateef nonetheless dominate this set; two of the original tracks are by Lateef, including the centerpiece "Brother John," for John Coltrane and featuring an astonishing extended Lateef solo on oboe, an instrument not normally associated with jazz, but which takes on an almost Middle Eastern fluidity and grace in its approximation of Coltrane's "sheets of sound" technique…