Collection includes all solo studio albums and four cd-singles by Susanna Hoffs. Susanna Lee Hoffs is an American vocalist and guitarist. She is best known as a member of the all-female band The Bangles.

These two concerts from Montreux in 1991 and 1992 catch Tori Amos right at the start of her solo career. The first, from July 1991, was filmed a few months before the release of her "Little Earthquakes" album and the second from July 1992 followed a few months after. There is a fascinating progression from one year to the next as she grows in confidence and skill as a live performer, buoyed by the critical and commercial success of the album. Naturally most of the songs are taken from "Little Earthquakes" but there are also rare songs from her various EPs released across the two years which didn't make it onto the album including her distinctive takes on Led Zeppelin's "Whole Lotta Love" and "Thank You" and Nirvana's "Smells Like Teen Spirit".

Balancing mainstream adult pop, grittier rock, and the poetic influence of childhood idols Patti Smith and Kate Bush, Bermuda native Heather Nova charted in the U.K. and the U.S. with her first worldwide release, 1994's Oyster.

While 1995's Relish proved Joan Osborne was a smart and idiosyncratic lyricist with a big, strong and soulful voice, the unexpected success of the album (and the single "One Of Us") proved to be as much of a burden as a blessing. Touring kept Osborne out on the road for the next few years, and troubles with her record company prevented her follow-up, Righteous Love, from arriving in stores until 2000, after which it died quickly on the vine (though the album deserved a better fate). As Osborne was blocking out plans for her next album in the fall of 2001, the terrorist attacks of September 11 upended her musical priorities, and for How Sweet It Is, Osborne has indulged herself in the musical equivalent of comfort food by cutting covers of a dozen classic soul and R&B tunes from the 1960s and '70s, with the exception of three reworked rock numbers (Dave Mason's "Only You Know and I Know," the Band's "The Weight," and Jimi Hendrix's "Axis: Bold As Love").

Camille and her enthusiastic supporters in the French musical press may be tired of the Björk comparison but, frankly, it is impossible to imagine a record such as Music Hole without the trailblazing work of the tiny Icelandic wonder. Time has abundantly proven than Björk's conception of pop music was a lot more than quirky novelty. Her boundless imagination, particularly in the mixing of organic and inorganic sounds and in the liberation of the human voice as a creative tool (rather than as a lyric broadcaster, or even as a singer), has provided the seeds for some of the most interesting – or at the very least idiosyncratic – acts to emerge in recent years. And this is a truly global influence, one that seems particularly attuned to independent spirits the world over, many of multi-ethnic origins: Bat for Lashes, Animal Collective, Panda Bear, Stina Nordenstam, Emiliana Torrini, Cocorosie, Juana Molina, and of course, Camille. Compared to Molina's much acclaimed Un Día, Camille's project of the same year Music Hole is less hypnotic, but certainly more fun.

Erstwhile 10,000 Maniacs frontwoman Natalie Merchant continues her highly successful solo career with LIVE IN CONCERT, a show that was recorded at New York's Neil Simon Theater. The set opens, somewhat appropriately, with one of the songs that got Merchant's solo career off to a blazing start, "Wonder." As she usually does in live performance, Merchant plays with the lyrical phrasing of the song to add unexpected melisma and daring tonal gambits. Merchant lends the dark and ephemeral "San Andreas Fault" a lightly sultry quality not found on the studio version. Other familiar favorites include "Beloved Wife," "Carnival," and "Ophelia." Merchant revisits the Maniacs' catalog only once, for a rousing take on "Gun Shy." Two unexpected covers spice the middle of the set: a haunting and powerful reading of David Bowie's "Space Oddity," and a beautiful take on Neil Young's "After the Gold Rush".

Le Fil is the second album by French singer Camille. The title translates as "The Thread". The album features a 'tone', a low-level drone that is in the background of every song, which Camille has described as 'her note'. The note is a B. The singer also mentioned that many people returned the record, thinking this sound was a fault with the recording. The title also arises due to the similar word 'fille' or girl which arises in a lot of the songs. It was first released in 2005, and reissued in 2006 in the United States, the UK and Australia with four extra tracks. The final track on the original version, "Quand je marche", runs for close to 39 minutes. The actual song is only four minutes in duration, but the tone extends for over 30 minutes after it has ended. The final 30 seconds contain Camille speaking in French. It has been most frequently compared to Björk's Medúlla, for Camille's use of her voice as an instrument in innovative ways.

The project consists mostly of Tim Booth's vocals and lyrics washing over layers of Angelo Badalamenti keyboard and orchestra treatments, with trippy rhythms and some intriguing guest performances fleshing out the structure. Fans of the first Suede album will be pleased to hear prodigal guitarist Bernard Butler serving as supple ligaments for five tracks, especially taut on the assertive "Heart" and relatively cutting "Butterfly's Dream" (James producer Brian Eno and Badalamenti on background vocals). There's nothing overly challenging here, in fact, some of it is annoyingly lightweight, but Booth and the Bad Angel makes for an overall pleasant confectionary of influences, moody pop, and melodic, cocooning atmosphere.

Retrospective: The Best of Suzanne Vega is essentially A&M's updated version of their 1999 issue, The Best of Suzanne Vega: Tried and True, adding "Tired of Sleeping" from Vega's Days of Open Hand, "Calypso" and "Solitude Standing" from Solitude Standing, "(I'll Never Be) Your Maggie May" and "Penitent" from the 2001 recording Songs in Red and Gray, and "Woman on the Tier (I'll See You Through)" from the Dead Man Walking soundtrack. Unfortunately, A&M chose to drop "Book and Cover" from the track listing, which was only previously available on The Best of Suzanne Vega: Tried and True, but the overall collection feels a little bit more hearty with a total of 21 tracks instead of 17.

Reuniting with all their original members plus original producer Stephen Street just over a decade after their swan song Wake Up and Smell the Coffee, the Cranberries recapture the sound of their earliest records on 2012's Roses. Nearly 20 years have passed since their breakthrough Everybody Else Is Doing It So Why Can't We?, so it shouldn't come as a surprise that there are some signs of age on Roses, notably in an increased sense of professionalism in the band's craft and also in a slight stripping of the ethereal echo that gave their debut an appealing floating quality. Without this dreaminess, the Cranberries are merely pretty, but unlike the turgidly ambitious Bury the Hatchet and Wake Up and Smell the Coffee – or on Dolores O'Riordan's pair of perfectly fine solo albums – Roses has definition and momentum, momentum that doesn't derive from artificially enhanced electric guitars, either.

Safe Trip Home is the third studio album by Dido. It was released in the United Kingdom on 17 November 2008. The album features collaborations and production with Jon Brion, her brother Rollo Armstrong, Brian Eno, Mick Fleetwood, Citizen Cope and Questlove. The album was the 44th best-selling album worldwide of 2008. The album was nominated for a Grammy Award in the category Best Engineered Album, Non-Classical.

Working once again with her brother Rollo Armstrong, who produced the majority of the album, Dido collaborated with a "who's who" of hit makers including Brian Eno, Jeff Bhasker, Rick Nowels and Greg Kurstin to create an album of finely, self-penned songs and soul-baring pop with electro, folk, hip hop, ambient and dance infusions. The album GIRL WHO GOT AWAY is a captivating collection of well-crafted songs and stunning production: from the euphoric "Go Dreaming," to the barbed wit of End of Night, the folky "Sitting On The Roof Of The World" to the dance-y-yet-dark "Blackbir" to the album's title track which Dido shares: "It's one of my favorite songs on the record," she says. "…but I guess it also sums up the last few years for me. Taking a step back from it all and going off to have the whole happy adventure of starting a family and making an album that I really am so proud of. And now I just can't wait for people to hear it."

The Wallflowers' long-awaited third album, Breach, was a strong, confident record that demonstrated clear growth from Jakob Dylan as a songwriter and The Wallflowers as a band. Thing is, everybody ignored it. Critics wrote it off and the large audience Bringing Down the Horse attracted shunned it, leaving the band in an awkward position of having to prove themselves yet again with their fourth album, Red Letter Days. The first striking thing about the album is that its production is a clear reaction to the failure of Breach. Glistening where its predecessor had a semblance of grit, this is a polished mainstream rock record, designed to win back listeners who loved the band by hearing "One Headlight" on the radio repeatedly. Dylan has adjusted his songwriting slightly, too, playing up the hooks and the melodies, which is hardly selling out. Even so, it's hard not to wish that the album had a bit more of the quirks and muscle that gave Breach its backbone.

Sinéad O'Connor's debut, The Lion and the Cobra, was a sensation upon its 1987 release, and it remains a distinctive record, finding a major talent striving to achieve her own voice. Like many debuts, it's entirely possible to hear her influences, from Peter Gabriel to Prince and contemporary rap, but what's striking about the record is how she synthesizes these into her own sound – an eerie, expansive sound heavy on atmosphere and tortured passion. If the album occasionally sinks into its own atmospheric murk a little too often, she pulls everything back into focus with songs as bracing as the hard-rocking "Mandinka" or the sexy hip-hop of "I Want Your (Hands on Me)." Still, those ethereal soundscapes are every bit as enticing as the direct material, since "Troy," "Jackie," and "Jerusalem" are compelling because of their hushed, quiet intensity. It's not a perfect album, since it can succumb to uneven pacing, but it's a thoroughly impressive debut – and it's all the more impressive when you realize she only topped it with its immediate successor, before losing all focus.

Special two CD edition of this critically-lauded album from the British-based Danish vocalist best known for her work with Zero 7. Features a bonus disc featuring 11 tracks from a live acoustic set recorded at the Copenhagen Jazzhouse plus two tracks from the album sessions ('When You're Away' and 'Lost In Art').