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The first official compilation by the acclaimed flamenco fusion/jazz/soul vocalist from Palma de Mallorca, En Mi Piel: The Best of Buika collects highlights from the four excellent albums she recorded between 2005 and 2009. This CD set concentrates on her projects with producer Javier Limon, and while it does not feature , it includes many tracks not available on her original albums. Her two superb contributions to Pedro Almodovar's 2011 film La Piel Que Habito ( "Por el Amor de Amar" and "Se Me Hizo Facil" ); and two previously unreleased tracks, "Sueno con Ella" and "Como Era."

This album consists of five songs from Nothing Like the Sun… re-recorded in Spanish and Portugese. This was a well-done project – the translations are good and Sting manages the Spanish and Portugese pronunciations well. However, unless you are huge fan, or enjoy hearing the songs sung in different languages, this is an album you'll want to pass over.

The singer Isabel Vargas Lizano (Costa Rica, 1919), aka 'Chavela Vargas', was a pioneer among female singers of rancheras. She had the unmistakable voice (grave, broken, dramatic, ripped and paused) that sang the great Mexican composers. Chavela back in the 90's with this album, one of the first after her years of obscurity in the '80s. It marked the resumption of her fame as an interpreter.

During his lifetime, Karl Böhm was a widely appreciated conductor of Bruckner with a thoroughly personal tone of his own to put up for discussion. The present recording of the Seventh Symphony with the Bavarian Radio Symphony Orchestra was made in 1977 and is therefore the latest made by Böhm of this work. One can see especially clearly how Böhm performs Bruckner in the Seventh Symphony, the work which opens the trio of “Adagio Symphonies” but deviates from strictly symphonic writing in its lyrically wandering character. He avoids all semblance of enraptured, otherworldly monumentality with cantabile, long-breathed phrasing, loving attention to sonic and melodic detail and with a well thought-out dramaturgy of tempi. Böhm’s Bruckner shines in luminous colours and is infused with the warmth of an ever-present singing quality. This is no high-priest’s celebration of cool, distant symphonic architecture, but a down-to-earth, accessible Bruckner interpretation.