The 1992 Holland collection Definitive Collection isn't really definitive, of course – it's the kind of title common to budget-line discs or European and Asian-only compilations – but it is a good sampler of ELO's hits all the same, containing 19 songs, including many, many hits: "Showdown," "Can't Get It out of My Head," "Evil Woman," "Strange Magic," "Livin' Thing," "Turn to Stone," "Don't Bring Me Down," and "Rock N' Roll Is King."

An enchanting songstress, Kate Bush reflects the most heavenly views of love on the aptly titled The Sensual World. The follow-up to Hounds of Love features Bush unafraid to be a temptress, vocally and lyrically. She's a romantic, frolicking over lust and love, but also a lover of life and its spirituality. The album's title track exudes the most sensually abrasive side of Bush, but she is also one to remain emotionally intact with her heart and head. The majority of The Sensual World beams with a carefree spirit of strength and independence. "Love and Anger," which features blistering riffs by Bush's mentor and cohort David Gilmour, thrives on self-analysis – typically cathartic of Bush.

The French equivalent of prog-rock bands Yes and Genesis, Atoll recorded four albums in the mid- to late '70s with a lineup that stabilized by the time of the group's second album. L'Araignee Mal (1975) included vocalist/percussionist André Balzer, guitarist Christian Beya, bassist Jean-Luc Thillot, keyboard player Michel Taillet, and drummer Alain Gozzo. Gradually commercializing its sound beginning with third album Tertio, Atoll released only one more studio album Rock Puzzle before breaking up. In the late '80s, however, a new, pop-oriented version appeared. Including only Beya from the previous lineup, the band released L'Ocean and the live album Tokyo C'est Fini (both 1989).

Limited edition digipack reissue of the rollicking, rastafarian retrospective from the most brilliant Dread Zeppelin! Fronted by the 300-pound Elvis impersonator Turtelvis, Dread Zeppelin warp the compositions of Page, Plant and Co. into heady reggae jams so ingeniously they ll have you begging for more and have even earned the praise of Plant himself! Features recently recorded versions of Zep s all-time favorites Stairway To Heaven, Whole Lotta Love, Immigrant Song, Kashmir as well as some Dread originals!

Schubert's quintet (which gets its name from his song "The Trout," used for a set of variations at its apex) is as lighthearted as it is melodious, qualities reflected in this excellent performance. The period-instrument balances are ideal; the fortepiano, less resonant than a modern piano, does not overpower the strings. The arpeggione was an odd, newly invented six-stringed instrument when Schubert wrote for it. The lovely sonata is here played on an obsolete five-stringed instrument, the violoncello piccolo–closer to the original than the modern cello or viola usually heard on recordings. The "Notturno" is a haunting movement, probably intended for a larger work.

The sultry warm atmosphere of an Andalusian night is almost palpable in Falla’s spellbinding Noches en los jardines de España. With its shimmering, sensuous harmonies, exquisite orchestral colours and exuberant melodies and rhythms, it’s perhaps Falla’s most impressionistic work. Using a large orchestral canvas on which he paints with deft, luminous strokes, Falla skilfully integrates a virtuoso piano part to create lovingly evocative music, full of captivating beauty.

There is nothing left wanting in these performances. Hantaï and Verzier both display adroit virtuosity, possess warm tones but distinctive approaches, and share a telepathic sense of interplay, all excellent qualities in these intimate chamber works. Brother Pierre Hantaï on the keyboard sticks with them throughout, following them even in the most tempo rubato-saturated Sarabande. The lion's share of the pieces here are in the standard stylized Baroque dance forms, but Marais' expressive melodies, pungent harmonies, and highly individual take on the forms make each piece unique.

Quartet Records presents a remastered CD reissue of Ennio Morricone's bizarre giallo score for the 1974 thriller L'ultimo Uomo di Sara (Sarah's Last Man). Directed by actress Maria Virginia Onorato (in her only foray into feature film directing), the movie stars Oddo Bracci as Paolo Castellano, an artist who wants to investigate the death of his ex-wife Sara long after the police declare the case closed. Aided by Sara’s friend Anna (played by Rosemary Dexter), Paolo goes through the hours of footage shot by Sara on her camera, slowly realizing that the identity of the killer is captured on film and his identity might be one of the reasons why the police wants the case closed as soon as possible.

The pianist Ramón Valle has lived in the Netherlands for years. In 2006, he had long since returned to his native Cuba when he was asked to write a composition for classical guitarist Esther Steenbergen. He called the piece Molinas which means something like Mills. While he was composing he was inundated with memories of the Netherlands. He felt that the years he spent on Dutch soil clearly left their mark on the way he developed himself as a musician and artist. Thus the idea developed to release Flashes From Holland. It shows how a Cuban who at first does not speak the Dutch language feels, and is slowly becoming more and more established. The relaxed Cuban life collides with the hectic feeling of a metropolis like Amsterdam where tourists get in each other's way, but slowly both cultures unite to form a steadfast feeling of habituation. Valle knows how to interpret this in a phenomenal way and enlisted the help of guitarist Jesse van Ruller for extra Dutch impulses.

New, fun-filled arrangements, with historical authenticity on their side, of bright and breezy curtain-raisers by a once-celebrated contemporary of Mozart.

Though Black Pudding marks the first time that singer Mark Lanegan and multi-instrumentalist Duke Garwood have recorded together, it isn't the first time they've collaborated. The latter toured with the Gutter Twins, Lanegan's project with Greg Dulli. Garwood's name isn't as well-known to the general public as the singer's, but his reputation among musicians certainly is. He's worked with everyone from the Orb to Wire, from Wooden Wand to Sir Richard Bishop, from Josh T. Pearson to Kurt Vile. For those familiar with Lanegan's 2000s solo work, the moody nature of the material here will come as little surprise; let's face it, his voice is coated in darkness. That said, all but two of these songs – the lovely guitar instrumentals by Garwood that bookend the album – are co-writes. They range from spooky blues numbers such as "Pentacostal" and "Death Rides a White Horse," where the guitar is the primary instrument, to fractured, skeletal, nocturnal funk numbers such as "Cold Molly."

Stereolab's Switched On series is ingenious, one of the best services a band has performed for its fans. Since their inception, Stereolab have made it a practice to release non-LP singles, tour 7"s, split singles, special-edition EPs – recordings that were available in small quantities for a limited time. In every case, the limited-edition recordings become very valuable very quickly, often reaching ridiculously exorbitant prices that most fans could never afford. That's where the Switched On series comes in. It's where the group gathers the best of these rarities, leaving a couple of tracks on the original single for the sake of collectibility. Stereolab may do certain projects as a lark, but they rarely throw away tracks, as each EP and most singles have their own identity, offering a new spin on the group's trademark style.

The story of Moby Grape has been told and re-told countless times, with its tales of excess, mismanagement, and record company screwups. By the end of the '60s the Grape was all but finished – or so everyone thought. After an aborted attempt at a Peter Lewis solo album, producer David Rubinson was able to help engineer this re-formation of all five original members, along with extra member Gordon Stevens on various stringed instruments. Written and recorded at the Grape's communal house in the Santa Cruz mountains, the results of the experiment rendered 20 Granite Creek, an album that is rightfully the successor to the first album (1967's Moby Grape). One of the most shining examples is Peter Lewis' funky and fast "Goin' Down to Texas," which clearly illustrates the power Moby Grape had in this, one of the original three-guitar lineups. Skip Spence, who was one of the more interesting writers in the band, contributes one song, the delicate and gorgeous oriental-sounding "Chinese Song." The whole record is quite similar in feel to the Doors' L.A. Woman, another truly great, homemade comeback album.