This double disc set features mostly live selections from the early 1970s to the 1980s along with some alternate takes. CD 1 opens with Die Sinfonie, a long track from their eponymous debut album, here you can enjoy a 1973 live version featuring that distinctive Grobschnitt progrock sound: fiery, rock based guitar, the strong, often English vocals, the excellent, very inventive drumwork and the wonderful vintage keyboard sound. The next track is Nickelodeon (in a 1973 rehearsals version, originally on the 2-LP Ballermann from 1974) featuring top notch rock guitar, what a compelling soli! The final composition on CD-1 is the famous epic Solar Music (also from Ballerman) in a 53 minutes version.
CD 2 contains 10 tracks like Ernie's Reise and Rockpommels Land Finale from the known concept album Rockpommel's Land, both from 1981 and we can enjoy a fine blend of acoustic guitar and varied keyboards…

Slim cut this session in May 1968 in Chicago (with Mike Vernon producing) as a member of the Chicago Blues All Stars, an ad hoc touring group that consisted of Willie Dixon, Johnny Shines, Walter Horton, and Clifton James. With all that to recommend it, it's still a pretty workmanlike set - no real sparks of any kind, just competently played blues by five old veterans who could knock this stuff out in their sleep, and probably did.

George Shearing's solo piano CD Favorite Things doesn't hide his early background in the study of classical music, but at times it celebrates it. The only truly arranged piece on the album, "My Favorite Things," incorporates a portion of a Scarlatti sonata, while "Not You Again" hints at Tchaikovsky. "Taking a Chance on Love" was inspired by Brahms' E major Intermezzo, while Artie Shaw's "Moonray" has the character of a Baroque fugue. Many of the other tracks have an impressionistic flavor, especially the dreamy take of Dave Brubeck's "Summer Song" and the haunting treatment of Matt Dennis' "Angel Eyes." The pianist adds a warm, friendly vocal to the finale, "It Amazes Me." George Shearing was clearly enjoying himself during the two days of studio sessions which produced this CD; fans of solo jazz piano are invited to do the same.

Remy returns to these virtual pages with an offering thematically connected to his recent Disconnected, in title at least. The music is similarly influenced by Klaus Schulze, circa 1975-78 and fans of Schulze's recordings of that era are almost sure to enjoy this one. Remy composes very ably in this style, and while the stylistic innovations may be few, he is able to use and twist the style to respond to his personal expressions.