The casual observer might be surprised that 2004's The Best of Gary Hoey does not consist of a bunch of Christmas music culled from his Ho! Ho! Hoey albums, but as this 18-track collection proves, there's more to the high-riding guitar virtuoso than chop-laden versions of seasonal classics. There are also covers of classic oldies like "Low Rider," "Wipeout," "Linus and Lucy," Pink Floyd's "Money," "Misirlou," and "Frankenstein," along with a bunch of original material that functions as a vessel for Hoey's relentless playing.

Picking out the best instrumentals from Carlos Santana's thirty-year recording career is a daunting task at best, and a fan can certainly find reasons to disagree with some of the choices made in this collection. However, this German release is valuable in bringing together undisputed Santana classic guitar pieces like "Europa (Earth's Cry Heaven's Smile)," "Samba Pa Ti," "Flor D'Luna (Moonflower)" and "Soul Sacrifice" with lesser known masterworks like "Aqua Marine" and the superb "Song of the Wind." True, there's no "Toussaint L'Ouverture" or "Incident at Neshabur," but how would you like to have to narrow this long-lived band's catalog down to fifteen tracks? Besides, the true fan already has the original albums and earlier compilations. This disc takes its listeners on a high intensity trip through time on the spiritual wings of Carlos Santana's soaring electric guitar. It's a trip worth taking.

Joe Satriani may have retained the services of keyboardist Mike Keneally for Shockwave Supernova, the guitarist's 15th studio album – Keneally has been in Satch's orbit for a while now – but he chose to invite bassist Bryan Beller and drummer Marco Minnemann (from the inventive instrumental rock band the Aristocrats) to be his rhythm section for the bulk of the record. This slight shakeup reinvigorates Satriani, who already sounded spry on Unstoppable Momentum.

One of the long-standing collaborations of the British folk revival, Bert Jansch and John Renbourn's Bert and John sees the masterful Pentangle guitarists sparing together through their trademark steel-string guitar styles. Their respective solo careers established them both as leading troubadours of British Isles folk, with little debate and few peers, besides maybe Wizz Jones and Ralph McTell. On this album the duo finds good company in each other's techniques, which are quite indistinguishable in both guitar playing and singing through traditional adaptations, blues, and originals in the Anglo-folk style. The duo plays beautifully together in a candid setting.

With countless Gary Moore compilations released over the years, it's understandable for fans to greet the release of yet another, 2006's Platinum Collection, with skepticism. But what differentiates this three-disc set from the previous compilations is that it does a fine and dandy job of collecting highlights from all phases of Moore's career – heavy metallist, mainstream melodic rocker, and blues enthusiast. A cover of the Yardbirds' "Shapes of Things" allows Moore to show off his smoking six-string skills, and serves as proof that with a little more luck, Moore would have been up there with Van Halen, Vai, and Satriani as top rock guitarists of the '80s. Elsewhere, a pair of tracks recorded with the late great Phil Lynott – "Parisienne Walkways" and "Out in the Fields" – show the promise that future collaborations between these onetime Thin Lizzy bandmates held, if Lynott hadn't senselessly died young. Also, you'll find tracks that show Moore streamlining his sound in hope of crossover success – which he did obtain in Europe ("Over the Hills and Far Away," "Wild Frontier") – as well as his early-'90s rebirth as a bluesman ("Still Got the Blues," "Oh Pretty Woman," "Since I Met You Baby").

This particular version of the Broadcasters was unarguably magical, and this recording reveals why. Recorded four years after Earl dealt with his demons (alcohol, drugs, nervous collapse), it is the first of a string of all-instrumental albums by Earl, and it drips with class and soul. It's not just the exceptional skill of the players, however, that makes it so special; it was recorded on one of a handful of audiophile labels (AudioQuest), and therefore features state-of-the-art production. From the ringing opening chords of Magic Sam's "Blues for the West Side" to the beautiful acoustic guitar/piano duet of "Derek's Peace," Still River is thoroughly enjoyable. "Kansas City Monarch" is slow and sweet, featuring Bruce Katz tearing up the low notes, a nice sax solo by Anders Gaardmand, and some great double-string work by Earl. There is a moody version of John Coltrane's "Equinox" and a bog-dwelling rouser written by the entire band called "Chili Ba Hugh." You'll also like the greasy Hammond B3 organ on "Soul Serenade".