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.

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.

Psycho City is the sixth studio album by the American hard rock band Great White, released in 1992. It was the last studio album produced for Capitol Records, with the exception of the 1993 compilation The Best of Great White: 1986–1992.

Power of Ten is the tenth studio album by the rock artist Chris de Burgh. It was released in 1992 on A&M Records. The album includes such great tracks as Heart of Darkness, The Connemara Coast, Shine On. The booklet has few photographs with De Burgh.

The Essential Michael Nyman Band is a studio album featuring a collection of music by Michael Nyman written for the films of Peter Greenaway and newly performed by the Michael Nyman Band. It is the seventeenth album release by Nyman. The album features liner notes by Annette Morreau, who describes the album as "a summation and digest of ten years of progress in the performance of music by a composer – a composer with whom, so evidently, a group of friends and expert musicians intimately identify their total commitment, virtuosity, and joyous enthusiasm."

This 1992 album was Abbey Lincoln's third for Verve and another fine display of her musical vision. The set consists primarily of her own compositions. The arrangements vary throughout, depending on the needs of each song. Lincoln is supported by her core trio, with guest spots by trombonist J.J. Johnson, tenor saxophonist Stanley Turrentine, the Staple Singers, and the Noel Singers, a group made up of children. Lincoln revisits a couple numbers from earlier in her career, "Rainbow" and "People in Me." Her interpretive skills and emotional commitment to the material are such that she can even take on a familiar standard like "A Child Is Born" and make it her own. It's gratifying to see a major jazz label allowing Lincoln's musical vision to flourish and grow.

Immensely influential, the remarkable Symphonie fantastique was composed while Hector Berlioz was suffering an intense and unreciprocated passion for the Irish actress Harriet Smithson. Its autobiographical tale describes a young musician’s opium-poisoned nightmares of jealous despair and fatal justice following the murder of his beloved. Berlioz wrote a second movement cornet solo into a subsequent revision of the score, here included as an optional extra. He wed his sweetheart actress but, recuperating in Nice, wrote Le corsaire after the final break-up of their marriage.

Rockoon is one of Tangerine Dream's Miramar CDs and one of their Grammy-nominated albums. It features their signature Berlin school electronica with rock & roll textures. It is rhythmic but not techno. There are heavy sequences and some excellent atmospheric passages, but the excellence does not last. It seems like Tangerine Dream just mailed this one in.

For his 1694 offering to the Queen, Come ye sons of Art, away, Purcell was on sparkling form, and produced an Ode markedly different to the majority of the twenty-two works which had preceded it. The forces utilized were greater than normal, with an orchestra replacing the more usual single strings, and there was a clearly defined role for the chorus. Recent successes on the stage had led to this more expansive style of composition, and the inspired text (probably by Nahum Tate), full of references to music and musical instruments, was one which gave Purcell’s fertile imagination plenty of source material.

With William and Mary duly crowned there was more topical material available than usual, and the Stewards commissioned the best available author and composer to celebrate in ‘a very splendid Entertainment of all sorts of Vocal and Instrumental Musick’. Thomas D’Urfey included the libretto in his Pills to Purge Melancholy, describing it as ‘An Ode on the Assembly of the Nobility and Gentry of the City and County of York, at the Anniversary Feast, March the 27th, 1690. Set to Musick by Mr. Henry Purcell. One of the finest Compositions he ever made, and cost £100 the performing’. Of old, when heroes thought it base was ostensibly a history of York from Roman times onwards, but it also contained allegories of the Glorious Revolution. Despite D’Urfey’s sometimes contrived text, Purcell responds with music of high quality.

Composer Angelo Badalamenti, who wrote the music for the television series for which this movie served as a "prequel," presents another low-key score mixing after-midnight jazz with ambient sounds, never taken at more than a medium tempo. The mood is dark and languid, appropriate to the unusual tone of the TV show and movie. Jimmy Scott and Julee Cruise contribute eerie vocals to songs with lyrics by director David Lynch.

In spite of its youthful naivete, the music is unusually colourful and sensibly written, taking account of the various degrees of skills in the performers. Delectable.

The music for Blue Night was inspired by the lively, colorful, elegant world of fashion designers, models, photographers and beautiful locations, like Miami Beach, where today's photos are being shot…The music thrives on rhythms and a very jazz-influenced groove piano. Arrangements, programming and keyboards are the work of the composers Jay Heye and Curtis McLaw. They've added guitar and saxophone to produce some rich sounds and some very tight arranging. Sensual jazz, light house grooves and some fine piano playing turn this into a first-rate CD debut.

Elgar was a slow developer, and these pieces written in his youth are hardly prophetic – but they’re craftsmanlike, charming and fun. This pioneering recording stands up well.

Purcell’s fourth birthday Ode for the Queen, Love’s goddess sure was blind, was the most intimate of the six, scored for just strings and a pair of recorders. The two-section Symphony is one of Purcell’s finest, especially richly scored. The noble, yet wistful, first part is dominated by a six-note falling scale and a ravishing melody (which comes only once in the violins, but three times in the viola), all wrapped in glorious harmony. The triple-time second section at first glance appears lighter in character, but (as with so much of Purcell’s music, which needs to be played to discover its true riches) in practice still has an underlying current of melancholy, heightened at the end as the opening mood returns.