Troggs frontman Reg Presley will be remembered as the singer on some of the most enduring hits of the 1960s and for one of rock's most famous outtakes.

For the majority of the all-seated crowd in Glasgow’s atmospheric underground railway arch venue, the suspicion is they’re here because of the ‘featuring John Paul Jones’ element of tonight’s bill.

Music producers rarely leap from mixing desk to live room – even Ian Broudie of Lightning Seeds fame had form on the Liverpool band scene before he worked with Echo and the Bunnymen.

If Planet Earth,  the acclaimed BBC documentary series that first came to our screens in 2006, taught us one thing, it is that the natural world is endlessly fascinating. It also taught us that a humpback whale calf consumes around 500 litres of milk a day, and that snow leopard cubs aren’t as cute as they look. But as astonishing as the high-definition footage itself was George Fenton’s score, which is now to be heard live.

British musicians are urged to follow in Adele's conquering footsteps and look to Australia

Stockhausen! Not so long ago the composer’s name served as an expletive for conservative music lovers, expressing not so much their dislike as their nervous fear of radically modern music. It is five years since he died, and he has suffered the usual post-mortem slump in attention.

Is this electro-pop's newest star? Or just Christina Aguilera for hipsters?

The most rewarding factor on this album is the involvement of Edwyn Collins as producer (and label boss).

A suite of songs (ie, the mood is consistent throughout) of love and loss that aims for the austere mood of Gene Clark's No Other and falls short only because it reaches so high.

Named after the inscription “dramma per musica” to be found on 18th-century opera librettos, Dramma offers a remarkable collection of arias mostly drawn from longforgotten works by (now) unperformed composers.

On his second Decca set, piano wunderkind Benjamin Grosvenor programmes Gershwin alongside roughly contemporary pieces by Ravel and Saint-Saëns, but it's the connection between Rhapsody in Blue and Ravel's Piano Concerto in G major that gives the album its point.

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Steven Osborne is one of the unsung heroes of British pianism. This 40-year-old Scot tends to be typecast as a Beethoven and Schubert man, but he can create subtle spells with Ravel and Debussy: how would he handle Grieg’s ‘Piano Concerto in A minor’?

Dutch composer Richard Rijnvos believes that New York epitomises "the precarious equilibrium between chaos and order", a principle borne out in the two triptychs that comprise Uptown/Downtown.