Steve Miller had started to essay his classic sound with The Joker, but 1976's Fly Like an Eagle is where he took flight, creating his definitive slice of space blues. The key is focus, even on an album as stylishly, self-consciously trippy as this, since the focus brings about his strongest set of songs (both originals and covers), plus a detailed atmospheric production where everything fits. It still can sound fairly dated – those whooshing keyboards and cavernous echoes are certainly of their time – but its essence hasn't aged, as "Fly Like an Eagle" drifts like a cool breeze, while "Take the Money and Run" and "Rock 'n Me" are fiendishly hooky, friendly rockers.

Anyone in those parts who does not recognise the name Clive Nolan is clearly an imposter or is just stepping out in their journey through this great genre. Clive is a prog workaholic, who writes, produces, and plays keyboards for great bands such as Arena, Pendragon, Nolan and Wakeman, etc. While his commitment to each of these bands is total, Shadowland is his baby. Here, Clive steps out from behind the keyboards to assume the role of front man and vocalist. He is joined in the band by Threshold guitarist Karl Groom, Arena bassist Ian Salmon, and Threshold drummer Nick Harradence. Released in 1992 to a favourable reaction, "Ring of Roses" was the band's debut album.

This is a splendid collection of German music from the twelfth to the sixteenth centuries. In under an hour, sixteen distinctive and beautifully evocative accompanied songs are performed with style and commitment by the Swedish ensemble, Oliphant (Uli Kontu-Korhonen, chant, drum; Eira Karlson, fiddle, slide trumpet; Leif Karlson, lute, symphony, percussion; Janek Öller, recorders, hümmelchen, bomba). The four person group specializes in medieval music – performed on period instruments where possible. The perform with an "edge" that's at the same time gentle, considered and highly communicative. Indeed, the acoustic on this CD is close and warm without being at all cloying. That has the result of thrusting the very essence of the words (whose articulation is clear and penetrating) and the production of the sounds – on the fiddle, for instance – to the forefront of our attention over and above any more general impression we may have as a result of the music's strong aural flavor.

This two-CD album brings together the two earliest recordings by La Petite Bande. They were made in 1973 and feature landmarks in two important French forms of entertainment—comedie-ballet and opera-ballet. Performed in 1670 at Chambord, one of Louis XIV's grandest country retreats, Le bourgeois gentilhomme was the high water mark of Lully's collaboration with Moliere and was to be the last work of its kind on which the two worked together. Moliere developed the comedie-ballet from the fashionable court ballets, working the dances and music into the body of the play with unparalleled skill. Lully, himself a dancer, proved a gifted partner as the music for Le bourgeois gentilhomme reveals.

The Vlach Quartet on Naxos give well-played, impassioned accounts of both Quartets and are warmly recorded. Moreover, the account of the Violin Sonata by Jana Vlachová and František Maly is very fine, and the Pohádka for Cello and Piano is given as touching and imaginative a performance by Mikael Ericsson as any in the catalogue.

New Wave of British Heavy Metal band Demon were known for their shocking and elaborate performances (quite unique, considering the no-fuss, stripped-down philosophy characteristic of the movement), but never sounded as extreme as their name might suggest. Instead, they forged a mainstream hard rock/metal style, which, though it didn't stand out from the pack, has managed to keep them in business for several decades. Singer Dave Hill and guitarist Mal Spooner had already cut their teeth with various amateur acts in their native Staffordshire, England, by the time they decided to join forces and found Demon midway through 1980.

Though he may not be a piano superstar, Bruce Brubaker is clearly a musician to watch. On this recording of solo piano works by Philip Glass and John Cage, Brubaker somehow shifts between these two very different modernist composers to create a seamless disc of mesmerizing keyboard music. While Glass's own playing is often precise and austere, Brubaker is a different beast altogether. With him, we get a hint of Impressionism and a sense of contemplation with each note. The five parts of Metamorphosis are given shades of melancholy, along with frenzy; on the expansive "Mad Rush," Brubaker goes wild where he has to, but always returns to the piece's calming, sweet center. The piano music of John Cage is limited to just two cuts–"A Room" and "Dream"–but they, too, are hauntingly beautiful (especially the latter, longer piece).

An inexhaustible source of inspiration, birdsong has lent colours and sound to all ages. Exploring the sonic palette, whether glittering or woody, of their instruments, Valentine and Gabriel Michaud take us deep into a lush jungle of chiseled melodies and shimmering harmonies. Famous or exotic birds, baroque or electronic, jazzy or contemporary, all together they spread their wings in a hymn to freedom and musical diversity.

Rachmaninov's Third and Second Symphonies are distanced from each other not only by thirty years but also by the turning point in history that bisected the destiny of the Russian intelligentsia. Rachmaninov was full of creative energy and aspirations while writing the Second Symphony, in 1906-1907, even though he sought solitude in Dresden to feel the breath of his Motherland from a distance and to relate his own destiny to it. He was already a different person by the mid-1930s, struggling with the aftermath of his fate as an exile and summing up his life.

Meet the Sarahbanda — the Cuban band with a twist! Formed as part of the popular Mozart y Mambo project by Sarah Willis of the Berlin Philharmonic, the Sarahbanda explores the captivating Cuban dance rhythms in a way never heard before. How? By featuring an instrument not typically included in traditional Cuban band music — the French horn. The sound of Sarah's horn combined with Cuban grooves played by some of Cuba's most talented musicians creates an exciting and passionate group unlike any other. With their exclusive new arrangements of some of Cuba’s best known songs such as Chan Chan and Sandunguera, original compositions by members of the band, and some classical-meets-Cuban surprises, the Sarahbanda brings a whole new sound — fresh, innovative, irresistible and one you simply have to get up and dance to!

Having made his best album since 461 Ocean Boulevard with Slowhand, Eric Clapton followed with Backless, which took the same authoritative, no-nonsense approach. If it wasn't quite the masterpiece, or the sales monster, that Slowhand had been, this was probably because of that usual Clapton problem: material. Once again, he returned to those Oklahoma hills for another song from J.J. Cale, but "I'll Make Love to You Anytime" wasn't quite up to "Cocaine" or "After Midnight." Bob Dylan contributed two songs, but you could see why he hadn't saved them for his own album, and Clapton's own writing contributions were mediocre.