One Woman: The Ultimate Collection condenses Diana Ross' most successful recordings into one 20-song, 71-minute disc. Ross produced the album (which is to say picked the tracks), and included six of her Supremes recordings from the 1960s (one of them, "Someday We'll Be Together," in a new disco mix). She also licensed a few songs from her stay at RCA in the 1980s, making this one of the most wide-ranging of her compilations. She also includes four tracks from the 1990s. In other words, Ross has constructed the album as she might a concert – a sprinkling of early Supremes hits, all her biggest solo hits, and what she considers the highlights of her current work.

Hip-O's Ultimate Collection: The Complete Hits will likely be too much music for most audiences, simply because most listeners don't remember much more than "Love Will Keep Us Together," "Muskrat Love," and "Do That to Me One More Time" from Captain & Tennille. They actually had many more hits than that – 11 more, four of which hit the Top Ten, actually (for the record, they are "The Way I Want to Touch You," "Lonely Night (Angel Face)," "Shop Around," and "You Never Done It Like That"). All of them are here, along with several other singles and album tracks on this generous 22-track collection. To be frank, Captain & Tennille weren't quite varied or deep enough to make this collection not lose steam toward the middle, but the highlights – the three Neil Sedaka-penned tunes ("Love Will Keep Us Together," "Lonely Night (Angel Face)," "You Never Done It Like That,") plus "Do That to Me One More Time" – are all very good, standing proudly amongst soft rock hits of the time.

The second installment in Sakari Oramo's superb hybrid SACD cycle of the symphonies of Carl Nielsen on BIS presents the Symphony No. 1 in G minor and the Symphony No. 3, "Sinfonia espansiva," two ruggedly independent works that reflect the composer's late Romantic style yet point to the modernism to come. While the Symphony No. 1 was influenced by Brahms and offers a rich harmonic language, propulsive rhythms, and a fairly homogenous orchestral palette, the Symphony No. 3 is striking for its reliance on unfolding counterpoint and long-breathed lines, and most notable for the use of wordless parts for soprano and baritone voices in the pastoral slow movement. These performances by Oramo and the Royal Stockholm Philharmonic Orchestra are exceptional for their stunning power and spacious feeling, though the crisp details and focused sound quality will be the biggest draw for audiophiles.