Inside Information is the sixth studio album by the British-American rock band Foreigner, released on December 8, 1987. The album hit #15 on the Billboard 200 Albums Chart and was certified Platinum in the U.S. for sales exceeding one million copies. Although a huge standard by any country's charting method, the band's sales were certainly plummeting since the release of 4 in 1981. It was the last album to feature the 80's core lineup of Gramm, Jones, Wills and Elliott.

Another clean album filled with lightning bass work from Stuart Hamm. Exuding a city vibe, Outbound is thick with layered guitar, keyboard, and the aforementioned bass. While his technical skill is almost unrivaled, Hamm seems content to stay in the same Neo-Prog Rock groove for this, his fourth album.

"Songs Of Early Autumn" is possibly the best adapted for this season of the year, and it was recorded at an improvised meeting in the not yet heated (and therefore chilly) home of Joe Morris, who plays bass on this album. González and him are joined by this other bass-player turned tenor saxophonist Timo Shanko, and with Luther Gray on drums. Morris and González had played before on "No Photograph Available" and apparently the collaboration was worth a follow-up. Three of the eight tracks are compositions by González, all the other pieces are group improvisations in the real free (bop) tradition. The album starts highly rhythmic, uptempo with steady bass vamps and drum lines, and both horn players get all the space they need to enjoy us with their skills (and I laughed out loud because it is such fun at moments).

The Czech Republic's Skampa Quartet is a veteran group that has previously recorded the Dvorák String Quartet No. 12 in F major, Op. 96 ("American"), as well as other major Czech and Western works. But in this version for England's Champs Hill label, everything comes together for an exceptional chamber music performance. For one thing, the work is paired not with another quartet but with the String Quintet No. 3 in E flat major, Op. 97 (played here with Belcea Quartet violist Krzysztof Chorzelski), another work written during the composer's American sojourn.

The debut from Mano Negra is more than a band wanting to be the Clash. It's the sound of a band becoming the Clash (it compresses all the musical sprawl of Sandinista! into a single disc), then going on to find their own sound, most especially with tracks like "Indios de Barcelona" and "Mala Vida," both of which would become staples of their repertoire. "Killin' Rats" is a perfect mix of hip-hop and rock, while their take on the traditional "Rock Island Line" (the song that launched the skiffle movement of the '50s) flows through several musical styles in the course of three minutes. There's nothing that complex about it, but the best rock & roll has always been simple. But there's an undeniable fire about Patchanka – they sound as if they've just discovered rock, and they play as if their lives depended on it, with Chao singing (probably one of the few to take Joe Strummer as a vocal model) and the rest of the band offering soccer-style chanting as a background. They're not afraid of anything, they're immortal, and they swagger – and they're often funny, as in the over-the-top fake applause that permeates "Mano Negra," the album's opener.

With the 1974 disintegration of the original Alice Cooper group, Alice was free to launch a solo career. He wisely decided to re-enlist the services of Bob Ezrin for his solo debut, Welcome to My Nightmare, which was a concept album tied into the story line of the highly theatrical concert tour he launched soon after the album's release. While the music lost most of the gritty edge of the original AC lineup, Welcome to My Nightmare remains Alice's best solo effort – while some tracks stray from his expected hard rock direction, there's plenty of fist-pumping rock to go around…

This CD was released, at the moment of writing, 28 years ago, and if you are used to today's sound, you may find the engineering a little on the pale side, with the violin very much in the centre of attention and the continuo only occasionally able to rise above a mere accompaniment. However, it is Monica Huggett's performance which ensure the disc a five-star rating, fully justifying ASV's quote from the French classical musical magazine: "Leclair's violin has never been so well represented."

Playing a melodious synthesis of symphonic hard rock that has occcasionally been compared to Pink Floyd, Hanover Krautrockers Jane can trace their origins back to the late sixties psychedelic band Justice Of Peace…

Pink Floyd's legacy is today defined as much by the Millennial musicians who dedicate their weekends to playing to PACKED halls around the world celebrating the GREATEST Psychedelic band of all time! Here they gather on one track listing to give fans that show on record, including touring acts PULSE, Dark Side of the Moon, In the Pink, Charlie Bonnett III, Several Species, Erling Solem, Bugsy Parker, The Nashville Suns, Filthy Wizard, MYSTIC FORCE, PayneKilla, Blacktown Band, Monkeysoop, Manuri/Leandro Rodriguez, DAMN GLAD, & BERZON!

Can you hear the music? Do you hear it play? It’s telling you the story of the first Christmas Day… Perfect for children of all ages, this album of classical and traditional works is a charming and engaging retelling of the nativity through music, song and rhyme. Listen to the music and read the story!

"Two brothers (Jeremy & Joe Haynes)… 13 years and 1000 miles apart write, produce, and record a concept album based on Hemmingway's Old Man and The Sea and our relationship with our father, who was a fisherman himself. Probably lost a few of you already with the sheer geekiness of that sentence, but for those who chose to stick around, and happen to be fans of melodic rock music with some powerful but approachable ‘Prog’ leanings…

With the belated success of his Third Symphony ‘Symphony of Sorrowful Songs’ (NA 0822), Górecki emerged in the 1990s as a composer of world stature. Between 1988 and 1995 he wrote three string quartets for the Kronos Quartet that are among his most important mature works. String Quartet No. 1 reveals chorale-like themes, so much a feature of his later writing, as well as hectic, dance-like motion, while the Second Quartet’s wider range of expression explicitly evokes Beethoven. Genesis I: Elementi offers a powerful contrast—a string trio from 1962 of uncompromising immediacy.

The violin works of the leading German composer Wolfgang Rihm encompass almost his entire career and reflect the variety of his stylistic thinking. ‘Lichtzwang,’ the earliest of his concertos, draws on chorale-like sequences and piercing outbursts alike in its memorializing of the writer Paul Celan. ‘Dritte Musik’ begins almost imperceptibly before growing in intensity and eventually slipping beyond audibility. Defter and more subtle than the preceding pieces, ‘Gedicht des Malers’ (Poem of the Painter) was inspired by an imagined painting of the great Belgian violinist Eugene Ysaye. As Rihm has written: “The soloist virtually embodies the painter’s brush as it moves over the canvas in sometimes faster and sometimes more deliberate ways.”