Them forged their hard-nosed R&B sound in Belfast, Northern Ireland, moving to England in 1964 after landing a deal with Decca Records. The band's simmering sound was dominated by boiling organ riffs, lean guitars, and the tough vocals of lead singer Van Morrison, whose recordings with Them rank among the very best performances of the British Invasion…

With his lush and sophisticated instrumental approach to pop music, Richard Clayderman (born Philippe Pagès) is, according to The Guinness Book of World Records, "the most successful pianist in the world." Clayderman's albums routinely sell millions of copies and his concerts are quickly sold out. In a review of his 1985 Carnegie Hall concert, Variety wrote, "(Clayderman's) main appeal lies in his youth and boyish good looks…coupled with his gentlemanly charm and his thick French accent, they promise to rope in the romantically inclined middle-aged Yank ladies who cotton to this ilk of soothing entertainment…

In this instance, "deluxe collection" denotes six songs that blues guitarist Peter Malick recorded with vocalist Norah Jones before she hit it big, a (previously released) EP's worth of material padded here into a two-disc, 31-cut set of radio edits, club mixes, dub mixes, and DJ remixes, with only eight of them previously unreleased. (There are nine versions of the set-opening "New York City" alone.) The material stretches itself pretty thin, as the equal billing given Jones with Malick (the only two members of the "Peter Malick Group" who appear throughout) aims to attract Norah Jones completists or tempt those who might confuse this with one of her own releases. Malick's four original compositions range from the psychedelic swirl of "Strange Transmission," given a girlish lilt by Jones, to the Rolling Stones/Velvet Underground propulsion of "Things You Don't Have to Do," on which the two duet. Jones rarely oversings the way Malick occasionally overplays, though a cover of Magic Sam's "All Your Love" finds Jones straining for emotive effect in a way that she never does on her own releases.

Had this been released in 1982, it would have been the third album for the Bugs Henderson Group. It was not released at that time, however, due to differing thoughts on its style. In 1998 the tapes were resurrected and the vocals were re-cut. Most of Backbop is good old-fashioned rock & roll. The strongest cuts are "Help Me," which blends sounds as diverse as '70s rock and Chet Atkins; "Love Junkie," which comes the closest to blues with some nice jazzy riffs that are lessened only by too much repetition; and "Thief of the Night," which sees Henderson at his fiercest, rocking out with all the speed and bends his fans cherish.

The first joint album from countertenor Philippe Jaroussky and guitarist Thibaut Garcia, À sa guitare takes it's name from a song by the 20th century French composer Francis Poulenc. But it's frame of reference is extraordinarily wide - both culturally and stylistically. It's 22 tracks range across 400 years and music by composers and songwriters from France, Britain, Austria, Italy, Spain, Brazil, Argentina and the USA. "The album is a journey between different cultures, different continents and different languages," says Philippe Jaroussky, "but each piece is a world in itself. The idea was to take some risks… sometimes moving to a completely different world between one track and the next." "We can evoke hugely different colours as we juggle between renaissance music and a song by Barbara," explains Thibaut Garcia. "It's our job to play with a palette of colours to produces something unique… We put a great deal of thought into the album, but we also put our hearts into it."

Carol Sloane's Romantic Ellington lives up to the title's promise, collecting some of Duke Ellington's most romantic songs, including "Come Sunday," "A Flower Is a Lovesome Thing," "Prelude to a Kiss," "In My Solitude," "Lush Life" and "Tonight I Shall Sleep." Sloane's vocals are both sultry and accomplished, completing the album's aura of worthiness.

After a strong showing in the early '70s, Skin Alley drastically changed their lineup (and shifted their musical gears a bit) for their final two albums, 1972's Two Quid Deal and 1973's Skintight. There was still a strong prog rock base to their songwriting, but their folk and rock tendencies came to the fore on these two records more than ever before. Their deft instrumental technique screamed "prog," but never overshadowed the songs with unnecessary noodling or overt showings of musical dexterity. And that's the thing - there are "songs" here. With most of the tunes clocking in under the four-minute mark, there's no room for overindulgence. The arrangements are concise and even the instrumental numbers show a deliberately sophisticated restraint. Tales from Topographic Oceans, this is not. In packaging these two fine albums together (along with two bonus singles), Castle Music has one-bettered the bootleg "greatest-hits" collections…