Double CD of best tracks from celebrated Sourcelab compilations

Romantic tunes played a big part in British reggae charts in the late '70s and early '80s as a new generation of aspirational, British-born black kids abandoned roots reggae in favour of our first indigenous black pop style—lover's rock. Many of the tunes were nothing more than insipid cover versions of UK pop or US soul hits, but the movement yielded a clutch of genuinely moving songs such as Sharon Forrester's "Silly, Wasn't It?" (incidentally, Melody Maker's reggae single of 1974) and Janet Kay's 1979 Top 3 hit "Silly Games", both featured here. More recent

Accompanied by bassist Jimmy Bond and drummer Albert "Tootie" Heath the 24-year-old Simone works her way confidently through a program of 11 numbers, every aspect of her highly personal style already in place at the very start of her career. The album includes her hit version of "I Loves You Porgy", the track that drew Colpix to sign her up for the early-'60s.

Scousepunk reworking of classic revenge tale

By the early-to-mid '80s, Nico was holed up in Manchester on the comeback trail junkie habit in tow. A live performance at the Library Theatre, Heroine is a funereal study of stark cool, drawing on The Velvet Underground—"All Tomorrow's Parties", "Femme Fatale"—alongside rather less celebrated fare from Camera Obscura (1985) and Drama Of Exile (1981). The inferior An Underground Experience places her in a nameless club—haunted, drawn and distant.

Belgian director Frank Van Passel's handsome Euro-pudding adaptation of a novel by Flemish writer Willem Elsschot evokes bohemian, early 20th-century Paris with sepia-toned style—think Moulin Rouge meets Delicatessen. Sadly, a fine ensemble cast (including Julie Delpy, Shirley Henderson, Timothy West) are wasted on a routine, soapy plot about class, manners, infidelity and looming war. DVD EXTRAS: Trailers and scene selection.

Patchy South African drama from 2000 in which an actor, landing a role as a Soweto gangster, asks an authentic underworld figure and old school friend to show him the ropes of crime and carjacking. Lines get blurred. Director Oliver Schmitz makes some still-valid points about race and class issues, but it's no Bullets Over Broadway.

US rockers' 'difficult third album'

Ex-Fairporter's 21st solo studio album

Third LP from Aussie four-piece ditches country twang for subtly shaded pop