Billie Holiday's first recordings for Norman Granz' Clef Records present a vocalist truly at the top of her craft, although she would begin a rapid decline soon thereafter. This 1952 recording (originally issued as a 10" LP, Billie Holiday Sings) places Holiday in front of small piano and tenor saxophone-led groups including jazz luminaries such as Oscar Peterson and Charlie Shavers, where her gentle phrasing sets the tone for the sessions, evoking lazy evenings and dreamy afternoons. The alcoholism and heroin use that would be her downfall by the end of this decade seems to be almost unfathomable during these recordings since Holiday is in as fine a voice as her work in the '30s, and the musical environment seems ideal for these slow torch songs. Solitude runs as the common theme throughout these 16 tracks; the idle breathiness of "These Foolish Things (Remind Me of You)" finds the vocalist casually reminiscing…

By all accounts, the somewhat unexpected 2014 King Crimson tour was a resounding success and Live at the Orpheum is the first offering for those who were unable to attend. The band had been reinvented with a combination of new and returning players and the set list consisted largely of tunes that hadn't been performed live since the '70s, if at all. The main wild card was the three-drummer front line, which easily could have turned into a mess, even without music as challenging as Crimson's. Well, the time the three drummers (Pat Mastelotto, Bill Rieflin, and Gavin Harrison) spent rehearsing before convening the entire group was well worth it, because they play with a single mind throughout. The returning Mel Collins sounds fantastic on all manner of saxophones and flute, and hearing Tony Levin's amazing bass playing on all these old King Crimson tunes is a real treat…

The debut album by one of the most promising double acts of the mid-'80s, complicated somewhat by an overwhelming need to sound like contemporary artists. Neither Graham Gouldman nor Andrew Gold could be said to have built their careers on danceable pop music; nor could their respective audiences have really been dying to hear them try. But they went for it anyway and, aided by a studio stuffed with the latest in techno gadgetry, turned in an album that could certainly hold its own against the majority of what was on the streets at that time. Indeed, "Right Between the Eyes" deserved to be as big a hit as any contemporary smash you can name, and digging deeper into the album, it was clear that even if the duo weren't exactly busting a gut in the songwriting stakes, they did have their finger on the modern pulse.

Combining heavy symphonic sounds, a certain taste for big melodic hooks, and the seducing raspy vocals of mistress Steva, Deathless Legacy carved out their own peculiar niche - no one sounds like them, no one is currently doing the horror metal thing better than them! “Damnatio Aeterna” tells the thrilling story of the lesser demon Malchrum, who is challenged by Lucifer to ensnare a priest in an unspeakable sin, thereby ensuring his eternal damnation. A dark and provocative journey faithful to the band's signature style and filled with an atmosphere of mystery that grows progressively tense as the story unfolds, the seventh Deathless Legacy studio album will finally delve into sophisticated themes and explore the true nature of evil.

One of those composers whose name you might not be instantly familiar with, but whose music you certainly will be, Italian pianist Ludovico Einaudi has been captivating audiences for the best part of two decades with his beautifully delicate and minimal arrangements, many of which have gone on to become soundtrack staples for everything from costume dramas to TV adverts to Hollywood films. Celebrating his increasingly popular output, Islands: Essential Einaudi compiles the Milan Conservatory graduate's most recognizable pieces, with material from his first solo piano record, Le Onde ("Questa Notte"), right up to 2009's synth-based Nightbook (the gothic cello-led title track), alongside a brand new composition, "The Earth Prelude."

Two names virtually synonymous with the violin in the twentieth century are Fritz Kreisler and Oscar Shumsky. The former was a notable performer in his own right, appearing as soloist in front of most of the world's most prominent orchestras. Today, however, Kreisler primarily lives on through his extensive compositional output, particularly that for the violin. This vast body of work can generally be categorized as being nationalistic, imitative of eighteenth century composers, or arrangements.

Most listeners to 18th century music in the modern era are well familiar with JS Bach, perhaps his sons Karl Philipp Emanuel, Wilhem Friedemann, and Johann Christian, certainly Handel, Vivaldi, and Scarlatti, and perhaps Purcell. In the last 30 years we are fortunate to have been given access through CD recordings to similar music from the enormous host of contemporaries of these masters of the Baroque, and it is constantly astonishing how high the quality of the written music was throughout the 18th century. Surely there were mediocre or perhaps poor composers, but the sheer number of really good ones continues to amaze.

In 1970, Elektra Records released a Doors hits collection called 13. In 1971, the Doors scored two more hits, "Love Her Madly" and "Riders on the Storm," and their lead singer, Jim Morrison, passed away. In 1972, Elektra released a two-LP anthology containing "Love Her Madly" and "Riders on the Storm," along with a lot of album tracks. But there was no single-LP compilation that contained all the Doors' hits, from "Light My Fire" to "Riders on the Storm." This 11-track 1973 album was an attempt to address that problem, and at the time of its release, containing seven of the Doors' eight Top 40 hits (the exception being "The Unknown Soldier"), it was the best Doors greatest-hits collection on the market.

2008 release, the seventh studio album from the Voice AKA Russell Watson. People Get Ready sees the operatic tenor taking a new direction. Backed by Amy Winehouse's band, Watson delivers an album of Easy Listening, Soul and Rock standards and, for the first time, does away with the classical crossover songs that made him a household name throughout the UK. 14 tracks including 'Me & Mrs. Jones', 'Georgia' and 'Papa Was a Rolling Stone'.

"The idea of recording this album was born during the tour of Nightbook, which in its breadth has seen eighty dates between Europe and America, all of which are followed by the audience - told the Einaudi Feltrinelli di Milano - Every concert was different from ' other, because playing live, in situations so exciting, there are growing and new arrangements of songs interesting variations. Throughout the tour I have done nothing but dream about the stage at the Royal Albert Hall, it is a legendary place for every musician. And so finally I decided to record their live concert that, in a double album. "

This isn't French violinist Renaud Capuçon's first outing as a concert soloist; he has released a recording of concertos by Mendelssohn and Schumann, and a disc of concerted works by French composers. This is his first recording of concertos by Mozart, though, and it is as successful as his previous releases. Capuçon's lean tone, lyrical approach, subtle vibrato, and supple phrasing are ideal for Mozart's First and Third concertos, and his ardent but elegant interpretations are virtually perfect. As in his other recordings, Capuçon's playing is both completely in the style of the works and still wholly individualistic, particularly in the cadenzas, which have a sense of improvisatory freedom that entirely suits them.