Manouevres was released in 1983 as the follow-up to Greg Lake's 1981 self-titled debut album. His core group of musicians (Gary Moore, Tristam Margetts, Tommy Eyre, and Ted McKenna) is still present, but Manoeuvres is a different sort of album than the '81 effort. The heavy, gritty, guitar-driven feel of the previous record is not quite as evident and this seems a more restrained album. Many, Greg Lake included, tend to sell this album short and that is a mistake. Perhaps sales were discouraging, but this is a well-crafted, well-performed album on which Lake seems to rely more on melody than he did in 1981.

Vocalion Ltd repackaged and re-released two Blood, Sweat and Tears LPs originally on Columbia – Mirror Image (1974) and New City (1975) – as a SACD Hybrid Multi-channel. Included on these mid-'70s releases are "Look Up to the Sky," "Are You Satisfied," "Ride Captain Ride," "One Room Country Shack," and "Got to Get You Into My Life." All tracks available in stereo and quadraphonic mixes.

A much loved score, this Octet, cast in six movements is scored for clarinet, bassoon, horn, two violins, viola, cello and double bass. It was written in 1824 as a commission from the amateur clarinettist Count Ferdinand von Troyer who was an official at the court of Archduke Rudolf, an heir to the Austrian throne. Troyer stipulated that the score should be modelled on Beethoven’s Septet, Op. 20 (1799) a work that at the time was enjoying great popularity in Vienna. At a fertile time for Schubert’s chamber music the Octet was composed during the same period as his String Quartets No. 13 in A minor, D804 ‘Rosamunde’ and No. 14 in D minor, D810 ‘Death and the Maiden’.

Among the many recordings celebrating the 300th anniversary of Chopin's birth, this disc will stand out as an historic record of the composer's extraordinary influence and legacy. Chopin's unique style of piano writing transformed the way in which composers wrote for and thought about the piano. Many composers and pianist-composers have felt moved to pay their respects to Chopin by writing their own works in homage of Chopin. This collection includes works by Mompou, Grieg, Tchaikovsky, Godowsky, and others.

The other side of Bob Dylan referred to in the title is presumably his romantic, absurdist, and whimsical one – anything that wasn't featured on the staunchly folky, protest-heavy Times They Are a-Changin', really. Because of this, Another Side of Bob Dylan is a more varied record and it's more successful, too, since it captures Dylan expanding his music, turning in imaginative, poetic performances on love songs and protest tunes alike. This has an equal number of classics to its predecessor, actually, with "All I Really Want to Do," "Chimes of Freedom," "My Back Pages," "I Don't' Believe You," and "It Ain't Me Babe" standing among his standards, but the key to the record's success is the album tracks, which are graceful, poetic, and layered.

Not strictly a "greatest-hits" collection, Love Songs contains Elton John's most famous ballads, from "Your Song" and "Don't Let the Sun Go Down on Me" to "Can You Feel the Love Tonight." Featuring two new songs, including the single "You Can Make History (Young Again)," Love Songs is designed for the casual John fan who is familiar with his songs through adult contemporary radio. If you don't fall into that category, the compilation is bound to fall short of expectations, but the record nevertheless works well as a collection of ballads and soft rock.

Eroc (Joachim Heinz Ehrig) started his solo career in 1975 while he was currently the drummer of Grobschnitt. His self titled album can be considered as a cross between Gorbschnitt's typical symphonic amazing music and electronic/synthscapes dominated by numerous original sound manipulations. Despite that he was originally recognised as a drummer, here Eroc is the man behind the machines, controlling solid essays in synth experimentations and electronic collages. His first album is an absolute must in Kraut/ electronic genre, very abstract, emotional and a mix of different moods. This album is an opponent worthy of Klaus Schulze's first realisations in space/"kosmische" electronic music.