If Verve needed a concept for Mel Tormé's last album on the label, there were certainly a few available. For one thing, My Kind of Music features five of Tormé's own songs, including chestnuts like "The Christmas Song," "A Stranger in Town," and "County Fair," as well as lesser-knowns like "Welcome to the Club." The other half-dozen compositions are by the underrated songwriting team of Howard Dietz and Arthur Schwartz, creators of the '50s Broadway hit The Bandwagon. Though they're rarely spoken of in the same breath as Rodgers & Hammerstein or Lerner & Loewe - could it have anything to do with the lack of smoothness in pronouncing their names? - Dietz and Schwartz wrote many standards, including "You and the Night and the Music," "I Guess I'll Have to Change My Plan," "Dancing in the Dark," and "By Myself"…

By this point Henry Cow consisted of guitarist Fred Frith, drummer Chris Cutler, bassist John Greaves, keyboardist Tim Hodgkinson, and, of particular importance to the band's sound at this point, bassoonist Lindsay Cooper. As is so often the case with avant-garde rock & roll, it's the composed pieces that work best, and the fact that Frith is responsible for the majority of them is significant. "Bittern Storm Over Ulm" is an absolutely brilliant demolition of the Yardbirds' "Got to Hurry," while the brief but lovely "Solemn Music" unfolds in a stately manner with atonal but pretty counterpoint between Frith and Cooper. The improvised material succeeds in a more spotty way. "Upon Entering the Hotel Adlon" demonstrates how fine the line can be between bracing free atonality and mindless cacophony…

Just like the albums her husband/producer Mutt Lange produced for Def Leppard, Shania Twain's albums are designed to generate hit singles for two or three years, which means that each of her blockbuster records – 1995's The Woman in Me, 1997's Come On Over, 2002's Up! – already seem like greatest-hits records, since they're filled with huge hits. This makes assembling an actual greatest-hits album a little difficult, since not only is the material overly familiar, but there are so many hits that they're difficult to fit on a single-disc collection. Impressively, 2004's Greatest Hits – the first compilation Shania has released in her career – doesn't skimp in either the hits or its actual length.

Three years after his solo album The Wildest Wish to Fly, pop producer and songwriter Rupert Hine came back under the disguise of the pseudo-group Thinkman. The three musicians who accompanied him in interviews and lip-sync performances were actors, the whole project becoming a concept revolving around media manipulation. The Formula, Thinkman's first album, sticks close to this idea (the title track begins with the lines "It's an interview/But it's a second take"). During the early '80s, Hine followed an evolution that led him from disturbing art pop to intelligent but more commercial songs. The Formula is pretty much middle-of-the-road but has a harder edge than the singer's previous LP. Songs like the title track "The Ecstasy of Free Thought" and "The Days of a Champion" are fueled by newly found energy and feature the hook-filled melodies that made Hine an important part of England's '80s pop music…

Legendary, critically acclaimed Suk recordings of Martinù’s concertos in newly re-mastered form. In 1973, together with the conductor Georg Solti, Josef Suk premiered Martinù’s first violin concerto in Chicago. This 'Paris-era' concerto was originally written for the famous violinist Samuel Dushkin. However, it was later mislaid, only to be rediscovered and premiered some 40 years later.

Janácek’s The Cunning Little Vixen has of late been appearing ever more frequently on the stages of opera houses worldwide. Two seemingly different worlds – the animal and human – blend together in their relentless cycle and consequently the work poses a great challenge to staging teams. Janácek’s specific musical phraseology brings to the story a unique emotional depth which, given a heart-felt interpretation, resonates in the audience’s souls. In Supraphon’s catalogue this masterwork features in two complete recordings – those by the conductors Bohumil Gregor (1970) and Václav Neumann (1980). The latter had previously recorded the opera back in 1957 with the soloists Hana Böhmová (Bystrouška, the vixen), Rudolf Asmus (Forester), Libuše Domanínská (Goldskin, the fox) and other superlative singers.

The origination of Mozart’s extensive Clarinet Quintet in A major (1789), as well as that of Brahms’s opus some hundred years later (1891), was primarily inspired by the mastery of a virtuoso clarinettist. In the case of Mozart, it concerned the famous Anton Stadler, to whom the composer also dedicated other solo compositions for clarinet. The piece’s 1789 premiere in Vienna was concurrently the premiere of the basset clarinet, in whose construction Stadler himself participated. Brahms was inspired to write his Quintet by the clarinettist Richard Mühlfeld. Bearing witness to the composition’s success is the fact that at its premiere (1891) the second movement with the melody spiced up “Hungarian-style” was repeated on no less than three occasions.

In 1974, Richard Thompson and the former Linda Peters released their first album together, and I Want to See the Bright Lights Tonight was nothing short of a masterpiece, the starkly beautiful refinement of the promise of Thompson's solo debut, Henry the Human Fly. In Linda Thompson, Richard found a superb collaborator and a world-class vocalist; Linda possessed a voice as clear and rich as Sandy Denny's, but with a strength that could easily support Richard's often weighty material, and she proved capable of tackling anything presented to her, from the delicately mournful "Has He Got a Friend for Me" to the gleeful cynicism of "The Little Beggar Girl."