Phil Collins took a long time to deliver Testify, his first record since redemptive post-divorce album Dance into the Light. On that 1996 affair, he was open to all the possibilities that may arrive during this new act and, accordingly, the album felt expansive. He dabbled with new sounds, perhaps excessively so, but it helped mirror his newfound freedom. In contrast, Testify feels a bit hemmed in, the sound of a singer/songwriter marching through the drudgery of life. This isn't to say that Testify is underpinned with despair – it certainly lacks the melancholy undertow of Both Sides, one of his moodiest and best records – but rather it feels diligent, with Collins intent on hitting all of his preordained marks.

Dedicated fans of Sarah McLachlan had a lot to buy in 2008, when the Canadian songwriter issued three retrospective albums. Rarities, B-Sides & Other Stuff, Vol. 2 led the pack in April, followed by a deluxe edition of Fumbling Toward Ecstasy several months later. Closer: The Best of Sarah McLachlan brought up the rear, arriving in October and compiling McLachlan's greatest hits along with two new songs. "Don't Give Up on Us" and "U Want Me 2" are standard McLachlan tunes, mixing adult contemporary songcraft with the soothing, evergreen vocals that helped her rise to prominence.

The first American single-disc Stevie Nicks compilation since 1991's Timespace, Reprise's 2007 Crystal Visions: The Very Best of Stevie Nicks bests that previous set even if it falls just short of being truly definitive. The problem area lies in the place where it clearly attempts to distinguish itself from its predecessor: the inclusion of Fleetwood Mac songs. Where Timespace never attempted to explore this territory, Crystal Visions does, but with the exception of "Silver Springs," all of the Mac songs are re-recordings – "Dreams" is performed with Deep Dish, there's a live version of "Rhiannon," and a version of "Landslide" performed live with the Melbourne Symphony.