Better Man (Original Motion Picture Soundtrack) includes songs featured in ‘Better Man’ re-recorded and arranged especially for the movie, directed by Michael Gracey (The Greatest Showman). Based on the true story of Robbie’s life, it sees him portrayed as a CGI monkey throughout the film.

Ten of Collins' soft-rock hits (including "In the Air Tonight," "One More Night," and the cover of "Groovy Kind of Love") are given a smooth, friendly easy-listening treatment on this disc; the only drawback are the oppressive synthesized drums, which give the entire recording a mechanical feel.

Celine Dion's A l'Olympia was recorded live at the legendary Parisian venue shortly after she scored her first U.S. chart-topper with "The Power of Love," which is included here. Therefore, the material on this disc consists mostly of early English-language hits ("Where Does My Heart Beat Now" and "Love Can Move Mountains"), and selections from her first U.S. French-language release, Dion Chante Plamondon, including the rousing "Des Mots qui Sonnent," "Le Blues du Businessman," and "Ziggy." There are two tracks on this collection which are unique to this album, those being the beautiful "Elle" and her version of the Bagdad Café theme, "Calling You." Also included is her take on the Jacques Brel song "Quand on n'a que l'Amour" and a medley (titled "Medley Starmania") of Luc Plamondon songs. The material sounds great live, her voice as always a technical marvel, but with three live import CDs already on the market, and with some songs repeated, this album is destined for collectors.

An important contribution to our understanding of the ‘gentle master musician.’ Stephen Rice brings perceptive musical insights to these accounts, and also sheds light on Févin’s idiom in the excellent CD booklet. His vocal ensemble may be slender but the singing is robust and buoyantly articulated. Boyish upper voices offset velvety tenors and basses, and the relatively close recording perspective produces a sound at once lucid and lustrous.

In its complexity and individuality, Johann Jacob Froberger's oeuvre represents one of the greatest treasures of 17th century harpsichord repertoire. His travels and friendships with musicians and intellectuals throughout Europe - including, for example, Frescobaldi, Kircher, Kerll, Weckmann, Louis Couperin, Gaultier, Fleury alias Blancrocher, Huygens and many others - are reflected in his stylistic versatillity. What is notable about all these contacts is that the fascination was invariably mutual - Froberger was inspired and also provided strong inspiration to his friends.

In May 1707 George Frideric Handel entered into the service of the Marquis Francesco Maria Ruspoli, and under his protection, embarked upon a tremendous career. As well as making a name for himself as a spectacular virtuoso on the harpsichord and organ, through his plentiful concerts in the Roman academies, Handel lost no time in also becoming a highly sought-after composer through his felicitous and apparently inexhaustible inspiration. In addition to a significant number of cantatas for solo voice and basso continuo, Handel also involved himself in composing cantatas for larger numbers of voices, combining these with a large supporting orchestral group.

A Scottish band with a crush on all things McCartney. Kirkcaldy McKenzie and the Famous Groupies are a kind of a mystery group and are heavily influenced by McCartney and Wings. "We are delighted to announce that our fourth and ultimately final album has been unleashed upon this world. We have spent these past 8 months working away on these 15 (technically 16) songs, and fruition has arrived. We set you free, Chameleon sessions…"

The Soft Parade is the fourth studio album by the American rock band the Doors, and was released on July 18, 1969, on Elektra Records. It saw the group departing from the material that encompassed their past three albums. The Doors incorporated brass and string arrangements into their compositions at a point in which the group was experiencing personal issues, particularly related to Jim Morrison. In addition, the album fulfilled the band's desire to feature more jazz and blues influences in their work. Upon release, the album peaked at number six on the Billboard Top LPs chart.

English listeners went mad for Katie Melua with the release of her debut album in late 2003. Issued domestically in June 2004, Call Off the Search posits the lovely Melua pristinely in between pop, adult contemporary, and traditional American musical forms, with savvy marketing handling the finishing touches. (Think Norah Jones.) It's a comfortable, lightly melodic affair that drinks red wine safely in the middle of the road. Raised in Soviet Georgia and the United Kingdom, Melua has a beguiling accent that colors the ends of her phrases, adding character to her velvety, if occasionally only satisfactory singing voice.

In its simplest terms, Blondes Have More Fun is Rod Stewart's disco album, filled with pulsating rhythms and slick, synthesized textures. It's also his trashiest, most disposable album, filled with cheap come-ons and bad double entendres. Of course, that makes Blondes Have More Fun one of his most enjoyable records, even if all the pleasures are guilty. With its swirling strings and nagging chorus, "Da Ya Think I'm Sexy?" was the reason the record hit number one, and decades later, the song stands as one of the best rock-disco fusions. The rest of the record isn't as engaging, but he throws out a handful of winning tracks in the same mold, including "Ain't Love a Bitch," "Attractive Female Wanted," and the title track.

2004 remastered reissue of 1976 debut album features nine tracks & includes original artwork with updated sleeve notes. When Pat Travers exploded onto the scene in 1976, people sat up and took notice. This young Canadian played guitar with a passion and an intensity that took everybody by surprise. This, his debut album, is one of the great debut albums of the period. Tracks like 'Makes No Difference' and 'Medley Parts 1 & 2' are classic slices of 70's hard rock. There was, however, much more to Pat Travers than a Marshall stack and a Fender Telecaster screaming for mercy. Pat's roots lay in the blues, and it's that raw earthiness that runs through the music on this CD. As great as this undoubtedly was, though, better was to come.