The Pretenders' 1987 collection, The Singles, did a fine job of assembling most of the group's finest tracks up to that point in their career, so after another decade passed, their record company felt it was necessary to compile a more "updated" collection, 2000's Euro-only release Greatest Hits. Although it contains a total of 20 tracks, Greatest Hits ultimately fails to improve over its predecessor, for the simple fact that the early '80s was the Pretenders' artistic and commercial peak, and Greatest Hits contains too much latter-day material. Whereas it would have been a wise move to showcase such oft-overlooked classics as "Tattooed Love Boys," "Mystery Achievement," "Precious," "My City Was Gone," or "Birds of Paradise" (all of which weren't included on The Singles), Greatest Hits includes such not-as-strong selections as "Night in My Veins," "Breakfast in Bed," and "Human" instead. Although there are quite a few gems included ("Brass in Pocket," "Message of Love," "Talk of the Town," "Kid," "Back on the Chain Gang," etc.), Greatest Hits leaves out far too many prime selections to be considered truly definitive.

The Pretenders Greatest Hits is a selection of 20 songs and their variously successful videos. Chrissie Hynde arrived in the UK in 1973, and after a period as the "Loud Yank" NME journalist, she realised her dream of putting a band together. "Stop Your Sobbing" was a terrific first single for The Pretenders, debuting a voice that defied comparison or description. Naturally it's included here. Chrissie hated the early videos for her songs, especially "Brass in Pocket", which was one of the very first shown on MTV. She relays this sort of information to camera in the terrific documentary, "No Turn Left Unstoned", featured on this DVD. Comments come in from Rosanna Arquette, ex-managers, Elvis Costello, Bono, and her oldest friend.

Seven Tears finds Golden Earring continuing to develop its distinctive blend of hard rock and prog elements, but the end result is not as consistent as 1970's Golden Earring. The big problem this time out is that the group's adventurous genre-hopping tendencies don't always result in strong songs: "Silver Ships" is a soft, science fiction-influenced song that generates a potent atmosphere but lacks the strong arrangement and sense of dynamics that would allow it to take flight, and "You're Better Off Free" loses sight of its catchy tune with a lengthy midsection guitar jam that derails an otherwise interesting song.

North, Elvis Costello's 20th album of new material, follows the deliberately classicist When I Was Cruel by a mere year, but it feels more the sequel to 1998's Burt Bacharach collaboration, Painted From Memory, or even 1993's roundly ignored classical pop experiment, The Juliet Letters. Costello has abandoned clanging guitars and drums of Cruel – abandoned rock & roll, really – to return to a set of classically influenced songs, all "composed, arranged and conducted" by the man himself (on The Juliet Letters, he was merely the composer and voice).

Establishing a telling and plausibly individual post-Gouldian solution to the Goldbergs has unsurprisingly come more from the likes of pianists Angela Hewitt and Murray Perahia than a generation of harpsichordists, a view reinforced when one revisits the studied hauteur of Gustav Leonhardt’s pioneering 1964 recording (Teldec, 3/96 – nla). Amongst others, we have since recognised Pierre Hantaï’s decorous 1992 Gramophone Award-winning account for Opus 111, and yet even such a vital and alluring account as this has barely impacted on the ‘mainstream’ consciousness of the work’s interpretative possibilities. For all the technical differences between the piano and harpsichord which have contributed to such divergent lines of enquiry, this remarkable set of 30 Variations badly needs a harpsichord performance which projects the various layers of meaning and characterisation in a cohesive whole and, crucially, which makes the harpsichord sound warm, generous and palatable over 70 minutes.

Detunized Gravity The prolific and long-running De-Phazz (also known as DePhazz) is a contemporary lounge project led by Peter "Pit" Baumgartner, a German-Austrian producer who has surrounded himself with a shifting cast of collaborators that includes vocalists Barbara Lahr, Karl Frierson, and Pat Appleton. Beginning with Detunized Gravity (1997), Baumgartner and company have explored various forms of lounge music, much of it balancing samples with live instrumentation, with innumerable cross-sections of vintage jazz and soul, easy listening, and Latin music. De-Phazz tracks like "No Jive" and "The Mambo Craze" have appeared on dozens of compilations with "lounge," "chill," and "cafe" in the title.