Celine Marie Claudette Dion born March 30, 1968), is a Canadian singer. Born to a large family from Charlemagne, Quebec, Dion emerged as a teen star in the French-speaking world after her manager and future husband Rene Angelil mortgaged his home to finance her first record. In 1990, she released the English-language album Unison, establishing herself as a viable pop artist in North America and other English-speaking areas of the world.

Bryan Adams negotiated the shifting tides of the '80s so well that it never seemed like he was changing his music to fit the times. A veteran of the '70s studio arena rock game, Adams struck out on his own in the early '80s, turning into a star in his native Canada and making headway with his 1983 album, Cuts Like a Knife. All of this was a prelude to Reckless, the 1984 album that turned him into an international superstar, selling by the truckloads in North America, Europe, and Asia thanks to the hits "Run to You," "Heaven," and "Summer of '69." From that point on, Adams was the most unassuming of rock stars, riding high on the charts and selling out arenas, even breaking Billboard records with his power ballad "Everything I Do (I Do It for You)," but never quite dominating the public imagination (or earning the critical respect) as such peers as Bruce Springsteen and John Mellencamp. Nevertheless, Adams remained a formidable presence on the American charts into the mid-'90s, and while the popularity of his new records started to slip after that, he retained his audience in Canada and the U.K. and his '80s hits remained radio staples as he began a career as a photographer.

Rhino has a history of doing things up right, but this time it's outdone itself. More than five hours of prog, from The Nice to Golden Earring, presented thoroughly and largely chronologically. Depending on your outlook, it's either heaven or hell. There's plenty here to occupy the idle, drug-riddled mind; some well known (Focus's "Hocus Pocus," ELP's "Knife Edge," Genesis) and some wonderfully obscure (Wigwam in their pre-Virgin days, when they were an obscure, Finnish-Irish outfit, and Hatfield and the North's delicious first single, "Let's Eat Again [Real Soon]," which had nothing to do with food). Of course, it's mostly European, but that's where prog was, (as was punk, but that's another discussion altogether). You even get the Italians from outer space, PFM, and one of the few French bands to mean anything--Magma. Toss in some Roxy Music, a few Krauts, early ELO, and a whole host of others, and you have something close to paradise, or overkill. With cover art by--who else--Roger Dean, and a tab of windowpane (just kidding, really!), it's everything you could imagine a prog rock box being. Bloody glorious.

Astral Weeks Live at the Hollywood Bowl is the fifth live album recorded by Northern Irish singer/songwriter Van Morrison, and released in the US on February 24, 2009 and on February 9, 2009 in the UK. It was recorded during two live concerts at the Hollywood Bowl in Los Angeles, California in 2008 and released on Morrison's new Listen to the Lion label and distributed by EMI.

This double-CD set presents a real conundrum, on a lot of levels. For starters, on its face, 55 songs may well seem like overkill to the casual fan who only knows or remembers (or thinks they only remember) five or six big hits by Paul Revere & the Raiders. And there are more modest single-CD collections to be found on this band that seem less daunting. But as it turns out -- for those who give this set a try -- Paul Revere & the Raiders did have just enough hits, when coupled with a sufficient number of respected album tracks and B-sides, to sustain a double-CD set. And that goes double for anyone who likes plain old rock & roll -- even when this band got ambitious and a little bit progressive and serious, they never lost sight of the value of a great beat and carefully placed vocal and instrumental hooks, and they were always fun. The truth is, whether it was the classic lineup playing frat rock or an early-'70s version of the band delving into more complex songs, these guys delivered high-quality music across a decade, from 1964 through 1974, and it's all represented here. And amazingly, this was the first Raiders compilation to include "Indian Reservation," the group's only number one hit, or to place it alongside their earlier round of hits, so that one can hear their progression from Pacific Northwest dance rock to smoothly professional AM pop/rock, absorbing elements of the British Invasion, garage punk, and psychedelia along the way.