Melody Gardot's 2006 debut, Worrisome Heart, was greeted with warmly enthusiastic reviews that never failed to mention Gardot's musical similarities to Norah Jones and Madeleine Peyroux, or her sadly compelling story of surviving a severe hit-and-run accident at the age of 19. The tragedy gave critics an irresistible hook, and the musical similarities which also include her vocal resemblance to Fiona Apple's smoky tones gave new listeners a familiar touchstone, but both merely provided an entry into a fine, accomplished debut.

The Pulsacion set is sort of a musical orphan that has been tacked on to other compilation CDs over the years, but here it is in the logical sequence of its original issue. Those who have never heard it will find it surprisingly different from much of Piazzolla's other works. Different though it is, Pulsacion still screams Piazzolla.

Singer/dancer/choreographer Paula Abdul hit the big time with the third single, "Straight Up," off this album, which sparked a string of hits that carried through to her follow-up. Despite having a slight voice, her voice is distinct and perfectly suited to this synthesized type of late-'80s dance-pop. "Cold Hearted" is insistent and catchy, "Forever Your Girl" is sweet and accessible, and "Opposites Attract" gives Abdul a chance to spar with the Wild Pair. There is some filler – "Next to You," for example – that hasn't aged as well as the better material, but overall this is a consistent album with some great dance-pop songs. Unfortunately, as Abdul and her material matured, her audience waned.

Art in America begins as delicate, somewhat elegant album with a pleasing mix of harp, guitar and keyboard that slowly changes to a more arena rock sound with progressive touches that make the band sounds like Asia meets Breathe. A pretty and slightly mystic album with hints of album rock and pop, Art in America was overlooked upon its release.

Gabor Szabo, who always had an original sound on the guitar (displaying his Hungarian heritage), is backed by a string section, horns and a rhythm section (including bassist Ron Carter and either Billy Cobham or Jack DeJohnette on drums) on this Bob James production. For this program Szabo performs two originals, a pair of pop tunes and an adaptation of a Shostakovich classical concerto.

Télépopmusik's sophomore effort is filled with beautiful backing tracks. Pillows of soft synth slowly emerge while pianos, harps, brass instruments, electronic ticks, and glitches stroll in and out of the picture as they please. This subdued electronica landscape is something to get lost in, and while it's nothing you haven't heard before, it's exactly what headphones crave on rainy days and almost enough to excuse the hackneyed lyrics and overindulgence.

Take a modern progressive rock fan and let him listen to the first notes of "A Drop of Light", debut album from a new project called All Traps on Earth: we have no doubt that it will take him a few seconds only to recall a name that has become a legend of Scandinavian symphonic prog: Änglagård! As a matter of fact, All Traps on Earth is the name chosen by Änglagård's founding member and bassist Johan Brand for this project of his, involving keyboard player Thomas Johnson and drummer / percussionist Erik Hammarström from the same 'source band'. They are joined by Johan's talented daughter, Miranda Brand on vocals, as well as a plethora of guests from the Swedish scene…

As she cruises into her mid-sixties, it’s comforting to know that Dolly Parton has lost none of her joy and vitality, and her 41st studio album, Better Day, released on her own Dolly Records imprint, is an energetic, spirited, and hopeful outing that rocks and soars with enough musical sunshine to light up even the grayest day. It simply crackles with joy and hope, and where in lesser hands such boundless good will might seem artificially forced and naïve, Parton pulls it off because, well, she’s Dolly Parton.

This music by ambient maestro Stearns dates back to 1977. Here, its 61 minutes are remastered and reissued on CD in 2001. This ambient music is delivered in a pair of tracks, each just over 30 minutes in length. Its sonic content was not designed to play as music, to engage the mind and emotions, but rather as textural meditative backgrounds, as a sonic context for personal explorations. The two lengthy 30-minute tracks, both composed in 1977, feature a minimal amount of melody while they smoothly evolve in a textural, hypnotic manner. The title track was created using Erv Wilson's Eikosany, a 20-tone instrument, while the second piece ("Sleeping Conches") offers a background of ocean surf sounds with heavily processed bells and conches. All in all, this two-fold collage of sounds is a sure bet for any experienced listener of meditative ambient soundscapes.

New Zealand born soprano Kiri Te Kanawa is of Maori descent. Her earliest vocal studies were with Sister Maria Leo in Auckland. She won the Melbourne Sun contest and went to London where she studied with Vera Rozsa at the London Opera Center. It was there that she first appeared on stage as the second lady in Die Zauberflöte of Mozart. In 1969, she sang Elena in Rossini's La donna del lago at the Camden Festival.