A concept album loosely based on man's fascination and allure for war throughout the ages, Daughter of Time contains all the elements required to create a pure progressive rock album. Joining David Greenslade and Chris Farlowe is Louis Cennamo from Renaissance, who plucks away at the bass guitar with a heavy hand. A multitude of instruments combine to create a brilliant melange of music on every one of the eight songs. Vibrant spurts of trombone, trumpet, and flute are driven to the height of each song, which gives way to some implements of jazz fusion.

Works for Wind Orchestra I and II are performed by the RNCM wind ensemble conducted by long-time wind orchestra champions: Tim Reynish and Clark Rundell. Hill Song No. 2 is notable for its skirl and sway – echoing Nielsen’s Fifth Symphony more than once. Faeroe Island Dance is mistily haunting yet with a dancing pattern which is brother to Shepherd’s Hey and Molly on the Shore. The Lads of Whamphray March is irrepressibly cheery and seethes with fascinating invention. The tart windband flavour adds nicely to Shepherd’s Hey! All the favourites are here in new garb. It’s done with a snap and a clicking of the fingers. The slalom-ski runs, percussion ‘graffiti’ and anarchic instrumental slashes in Gum-Suckers’ March are well worth confronting. The punched out Lost Lady Found is the finale of the gamely youthful Lincolnshire Posy. It’s given a weighty punch here and the cross-cutting effects place it clearly in Holst windband territory.

This disc elevates "Manfred" to a statement of real stature. Firstly, the Philharmonia sounds magnificent. For an artistic tradition that is generally reserved, the English have always done well by Tchaikovsky. Ashkenazy's Decca version of this very symphony is also with the Philharmonia, while Jurowski leads an astoundingly involved London Symphony Orchestra. All are worth having, but this is one of Muti's best recordings. Climaxes are explosive and the playing is rich and committed. The low strings – never a sure bet from British orchestras – are truly present and utterly engaged. The Philharmonia has a rock-solid lower half that recalls Klemperer's glory days, and the percussion and brass are at the fore. Speaking of Klemperer, he'd be proud of the swirling winds in the andante, and the obvious care that the conductor takes in matters of balance and dynamics.

On Buddy Guy's second Silvertone release, he continues the practice of guest appearances begun on Damn Right, I've Got the Blues. In this case, the notables include Paul Rodgers, Travis Tritt, and John Mayall. The finest combination comes when Bonnie Raitt joins Guy on John Hiatt's "Feels Like Rain." Raitt's gritty vocals and sweet slide guitar add a pleasing nuance to the bittersweet track, and it is ultimately the high point of the record. Certain critics and blues purists have derided Guy's search for mainstream success as evidenced by his penchant for guest appearances and non-traditional blues forms, but Guy sounds fantastic in these unconventional situations (witness his burning version of the Moody Blues' "I Go Crazy").

This is the album where Jeff Lynne finally found the sound he'd wanted since co-founding Electric Light Orchestra three years earlier. Up to this point, most of the group's music had been self-contained – Lynne, Richard Tandy, et al., providing whatever was needed, vocally or instrumentally, even if it meant overdubbing their work layer upon layer. Lynne saw the limitations of this process, however, and opted for the presence of an orchestra – it was only 30 pieces, but the result was a much richer musical palette than the group had ever had to work with, and their most ambitious and successful record up to that time.

This really is the ultimate Beach Boys "best of". It's got all the obvious classics (California Girls, Fun Fun Fun, Good Vibrations, Little Deuce Coupe, Help Me Rhonda, God Only Knows, Darlin', I Get Around, Wouldn't It Be Nice) plus the well-known songs by other writers that they covered in their own unique way (Do You Wanna Dance, Then I Kissed Her, Sloop John B, Cottonfields). But what's best about this compilation is that there's no significant song left out. Whereas other best of's omit the truly beautiful classics such as In My Room, Bluebirds Over the Mountain and Caroline No, they are all here.

This album is Don Airey's debut solo album, released in 1989 and paying tribute to the dramatic 1986 K2 expedition that took the lives of 13 extraordinarily experienced climbers. Featuring beautifully orchestrated keyboard, guitar and drum parts all of which are played by friends from bands from Airey's past: Gary Moore, Cozy Powell and Colin Blunstone on vocals complete this Prog-Rock anthem of an album. 'K2 - Tales of Triumph and Tragedy' is a story told by music; intriguing and breathtaking.

Stay on These Roads is the third studio album by Norwegian band A-ha. It was released on 3 May 1988 by Warner Bros. Records. Six singles were released from the album. A Synclavier, Sequential Circuits Prophet 5, Yamaha DX-7, Roland D-50, and Roland Juno-60 or Roland Juno-106 synthesizers were used in the recording of this album, as was a Yamaha RX-5 drum machine. Stay on These Roads was the band's third studio album. The album's peak on the Billboard 200 was 148. The album was another big hit by A-ha internationally, selling over 4 million copies worldwide. Stay on These Roads achieved Platinum status in Brazil and Gold in the UK, Switzerland, the Netherlands and Germany and Double Platinum status in France.The album reached #2 in the European top-100 albums sales chart.