King Crimson is a decidedly unwieldy band. Spanning more than 35 years (as of this writing) and at least seven distinct lineups, and complicated by the studio vs. live dichotomy (not to mention no hits to speak of), this is a band that almost refuses to be anthologized. Anything less than a box set doesn't really do the band justice, but anything more than two discs may seem like a grand investment to someone who just wants to get acquainted with them. Since King Crimson completely ceased to exist in the mid- to late '70s and early '80s, that seems a logical dividing point in examining the band's output. And that's exactly how Robert Fripp approached it when he assembled the 21st Century Guide to King Crimson in two volumes.

The lyrics of the eleven scenes of Amor vendicato are technically accomplished and facilitate the singers’ task. Indeed, librettist Antonio di Gennaro was one of the best of his kind in Naples in the second half of the 18th century. The simple plot celebrates the triumph of love in the character Amore whose revenge for being mocked by Apollo is to make him fall for Dafne, whose faithfulness to her true love Alceo leads her to fight off Apollo’s efforts. In Ovid’s version of the fable, Daphne changes into a laurel to escape but the librettist puts a decidedly 18th century spin on the Classical original, giving the leading characters a markedly galante air and so making a connection with the audience of the ladies and knights of the Academy. Apollo’s flattery,

The Seasons was written for the Russian Imperial Ballet and first produced at the Mariinsky Theatre in St Petersburg in February 1900 with choreography by Marius Petipa. There is no particular story to the ballet, which offers a series of tableaux, one for each of the four seasons, set to music that seems to continue the tradition established in the three ballets of Tchaikovsky.

For the first time together on one release the career spanning collection from the birth of Visage in 1978 to the final tracks from Steve Strange and Visage before his untimely death in 2015. Visage began in 1978 when Steve Strange and Blitz Club partner-in-crime, Rusty Egan, joined forces with Midge Ure to create a futuristic, synthesizer-led group where style and fashion were matched with experimental, yet accessible music. They recorded their first demos in EMIs Manchester Square studios and soon honed a futuristic, synthesizer-based sound. They recorded their first single "Tar" with Martin Rushent at his Genetic Studio in 1978 (shortly to become the birthplace of the Human League's "Dare" album).

Gary Moore's tribute to Fleetwood Mac guitarist Peter Green, Blues for Greeny, is more of a showcase for Moore's skills than Green's songwriting. After all, Green was more famous for his technique than his writing. Consequently, Moore uses Green's songs as a starting point, taking them into new territory with his own style. And Moore positively burns throughout Blues for Greeny, tearing off licks with ferocious intensity. If anything, the album proves that Moore is at his best when interpreting other people's material – it easily ranks as one of his finest albums.

The 11 performances that make up this collection were culled from The Band's Rock Of Ages (The Band In Concert) double-LP concert album, released in 1972.

After his landmark recording of some of Johann Sebastian Bach’s most important keyboard music, one of the great Bach interpreters of our time turns his attention to the composer’s preferred instrument. The sound of the clavichord is, says András Schiff, an invitation into “a new world, a quiet oasis in our noisy, troubled times. Thanks to the clavichord I now play and hear Bach differently.” An intimate and personal instrument – “a most gentle creature, ideal for playing alone” – it can also be, as Schiff notes, a demanding and unforgiving teacher. “On the clavichord we have only our fingers at our disposal, they must create the music with the finest gradations of touch.”