High Voltage is the first internationally released studio album by Australian hard rock band AC/DC. It contains tracks from their first two previous Australia-only issued albums: High Voltage and T.N.T. (both from 1975).

For a first attempt, it's a masterstroke! Released in 1976, Bright Size Life was Pat Metheny's first record as a leader. Just 21 years old, the American guitarist already showed a real maturity as a virtuosic composer and performer. He joined forces with Jaco Pastorius on bass and Bob Moses on a flexible and dynamic drum kit. These ideal accomplices allowed him to develop what would later become his trademark sound: a fluid and often lyrical style.

Recorded: 16th November 1976 at Hammersmith Odeon, London. First time available on vinyl. Limited to 4500. Pressed on 180g vinyl with a gatefold sleeve. Includes printed inner sleeves with photos of the band members. Made in the EU. "Made in Germany" sticker on the shrink wrap. Track durations do not appear on the release.

Croatian songstress Josipa Lisac, whose superb vocals were featured on "Majko Zemljo," a classic album by Tihomir Pop Asanovic, the best of Yugoslavian rare groove, which was also featured in the guidebook "OBSCURE SOUND REVISED EDITION.

Silk Degrees is the seventh solo album by Boz Scaggs, released on Columbia Records in February 1976. The album peaked at No. 2 and spent 115 weeks on the Billboard 200. It has been certified five times platinum by the RIAA and remains Scaggs's best selling album.

Recorded at Metronome Studios Stockholm 4th & 5th March 1976. Recorded on 4th March 1976: "Yard's Pad", "The Fourth of March", "Red Rod", "Informality".

Ruth Copeland's "Take Me to Baltimore," released in 1976, is her third and final studio album. Known for her work with Funkadelic, Copeland's album features a blend of soul and funk, showcasing her powerful vocal style. Notable tracks include "Milky Way Man" and "Heaven," a duet with Daryl Hall. The album received positive reviews for its soulful melodies and Copeland's expressive performances.

RSD 2023 release. 1976 Iconic Pioneer of Bebop Jazz. Considered one of the most important drummers in the history of Jazz. He was inducted into the DownBeat Hall of Fame in 1980 and the Modern Drummer Hall of Fame in 1992. He made numerous noted musical statements relating to the civil rights movement.

With Scorpions – Colours of Rock, BMG is reissuing the eventful band history of these hard rock legends in blazing iridescent colour.

The group were finishing off a huge US tour that had roared down the east coast then across the Midwest and by the time they hit LA, as Brian recalls the group was performing at their height.
The show opens with a hyper fast version of 'Beginning Again' due to drummer Steve Ferrone being almost an hour late and running high on adrenaline, Brian remembers thinking “I don’t even know if I can play it that fast!”. Fortunately, he and the Oblivion Express including stellar vocalist Alex Ligertwood rise to the challenge and the result is akin to some frenetic jazzy drum & bass but also pushes the group onto another level altogether for the rest of the show. Across both volumes there are no fillers and the highlights are many, but especially the epic version of 'Maiden Voyage' which Mos Def sampled on his 1997 'If You Can Huh! You Can Hear', and both DJ Mitsu in 2004 and 2017 Crimeapple both dipped into Live Oblivion to sample that fire for their own projects.

This story played out locally all across the USA in the wake of the paradigm changing Beatles / British Invasion of 1964. Childhood friends Jimmy Stewart and Larry Farrar heard electric guitars and started a garage band, evolving into Rat Salad by 1970, Hit And Run after that, and finally the Tennessee River Crooks. The band name is taken from the cigar box roadie/manager Jerry Crouch used to stash cash in while working the door at countless gigs across Tennessee, Kentucky, Arkansas, Missouri, Illinois… like most regional working bands of the day these guys played crowd pleasing cover versions at live shows to pay the bills. However, they intended to do their own material from the very start. Originally issued as a private pressing in 1976, this rare LP is an unfiltered slice of real life in the Southern Rock genre. We are lucky some slick producer didn't stumble across them and water it down with dollar signs in his eyes! This stuff is as pure as it gets!

By the time of his fifth album, Havana Daydreamin', Jimmy Buffett seemed to have established a pattern for what a collection of his songs would be. The best one-word description for the musical style still would have to be "country," but Buffett, and probably his record label, had given up on trying to sell him to the conventional country audience, and instead aimed at a slice of the pop market. That was fair enough, since he had evolved a persona as a Gulf Coast ne'er-do-well in compositions full of sentimentally viewed oddball characters ("Woman Goin' Crazy on Caroline Street," co-written with Steve Goodman, a re-recording of "The Captain and the Kid" from his first album, Down to Earth), self-deprecating self-portraits ("My Head Hurts, My Feet Stink and I Don't Love Jesus"), and humorous depictions of life on the road for the working musician ("Big Rig," written by Gregory "Fingers" Taylor, harmonica player in Buffett's Coral Reefer Band, "Kick It in Second Wind," co-written with girlfriend Jane Slagsvol), with plenty of references to alcohol and recreational drugs thrown in. It was perhaps unfortunate that the two best-written songs on the album, each of which ended one side of the LP, were written by others, Jesse Winchester's touching, whimsical "Defying Gravity" and Steve Goodman's road song "This Hotel Room." But that suggested that Buffett was looking for good songs to sing, whether he wrote them himself or not. © William Ruhlmann

At the time of its release, Frampton Comes Alive! was an anomaly, a multi-million-selling (mid-priced) double LP by an artist who had previously never burned up the charts with his long-players in any spectacular way. The biggest-selling live album of all time, it made Peter Frampton a household word and generated a monster hit single in "Show Me the Way." And the reason why is easy to hear: the Herd/Humble Pie graduate packed one hell of a punch on-stage – where he was obviously the most comfortable – and, in fact, the live versions of "Show Me the Way," "Do You Feel Like I Do," "Something's Happening," "Shine On," and other album rock staples are much more inspired, confident, and hard-hitting than the studio versions.

Lester Flatt is a name familiar to most any bluegrass fan. His work with Earl Scruggs is considered essential by many and his later work with the Nashville Grass helped pave the way for traditional bluegrass and bluegrass gospel in the decades to come. Heaven's Bluegrass Band was Flatt and the Nashville Grass; first album for CMH. Here, Flatt is joined by an all-star ensemble featuring Curly Seckler, Marty Stuart and Paul Warren among others, presenting some of the warmest and most authentic bluegrass gospel recordings of the era.

Woody Herman and His Orchestra was a jazz band led by Woody Herman, which had its great successes in the late swing era from the late 1930s to the 1980s.