Save the World is the third studio album by British glam rock band Geordie. Geordie were a British glam rock band from Newcastle, England, most notably active in the 1970s.. Geordie is mostly known for their lead vocalist, Brian Johnson, who would later join AC/DC. In 1972 and 1973, they had a few hits in the U.K., including the number six single "All Because of You" and "Can You Do It," which reached number 13. Their sound was influenced by British rock bands of the day such as Led Zeppelin, as well as some glam stompers, with Johnson's distinctively abrasive singing strongly in evidence.

Mannerisms may be expensive and difficult to find, but it's the place to start collecting Manfred Mann's post-EMI material. The compilation was originally issued in 1976, containing a dozen A-sides and notable album tracks, and it was decent as far as it went, filling in a few holes and re-exposing some worthwhile album tracks. What will surprise many listeners (especially Americans, who may well never have heard of, much less heard, these sides) is how late Manfred Mann embraced the basic British Invasion sound, well into 1967, and also how good a psychedelic band they were.

A New World Record is the sixth studio album by Electric Light Orchestra (ELO). It was released in October 1976 on United Artists Records in the U.S., and on 19 November 1976 on Jet Records in the United Kingdom. A New World Record marked ELO's shift towards shorter pop songs, a trend which would continue across their career. Their second album to be recorded at Musicland Studios in Munich, the LP proved to be the band's breakthrough in the UK; after their previous three studio recordings failed to chart in their home market, A New World Record became their first top ten album in the UK. It became a global success and reached multi-platinum status in the US and UK, The album sold five million units worldwide within its first year of release.

Formed in 1971 by old schoolmates Dane Stevens and Cedric Sharpley, along with local bass player Neil Brewer, Druid spent years playing clubs as a trio before winning a competition by Melody Maker for the best unsigned band. At this point they added Andrew McCrorie-Shand, a recent London College of Music graduate. The Melody Maker prize included new instruments and a recording contract, and their debut album appeared in July 1975 among envious whispers by rival bands and music publications. The band had a difficult time shaking the charge of hype, and they were also charged in some quarters as being Yes soundalikes – Starcastle in the U.S. was later to be tarred with the same brush.

An obscure jazz-rock band that existed from the mid-'70s through the early '80s, Cos was led by singer/oboe player Pascale Son, and also featured members Daniel Schell (flute, guitar), Bob Darsch (drums), Alain Goutier (bass), and Charles Loos (keyboards). Self described as a "mixture of jazz and Canterbury," the quintet released such albums as Postaeolian Train Robbery, Viva Bomma, Babel, Swiss Chalet, and Passions, before fading away.

Don McLean's final album for United Artists was a musical tour de force, and the best self-contained account of the full breadth of McLean's talent. Recorded live in England, in Manchester, Bristol, London, and Oxford, the 26 songs encompassed not only the artist's best-known work, but also many of his personal favorites, among them works by other composers (including Bob Dylan's "Masters of War"). All the songs are done solo by McLean on acoustic guitar and banjo, performing in a loose, freewheeling style more appropriate to a folk performance at a small club than a rock concert – except that McLean was doing these performances to tens of thousands of people at a time. He ranges freely across his repertory, including a loose yet sincere rendition of "American Pie" and a stunning version of "Till Tomorrow" (his encore), through "The Arkansas Traveller" and "Homeless Brother" to "Castles in the Air," the last in a version that makes the studio recording seem cold and sterile.

Although it lacked a hit single to match "Poetry Man," Phoebe Snow's second album was another folk-pop-jazz confection that effectively showcased her one-of-a-kind voice in musical settings featuring the cream of New York's session musicians, and produced by Phil Ramone. It was a classy job on which Snow contributed seven originals and displayed her versatility on covers ranging from Motown to Gershwin.

In every sense, A Day at the Races is an unapologetic sequel to A Night at the Opera, the 1975 breakthrough that established Queen as rock & roll royalty. The band never attempts to hide that the record is a sequel - the two albums boast the same variation on the same cover art, the titles are both taken from old Marx Brothers films and serve as counterpoints to each other. But even though the two albums look the same, they don't quite sound the same, A Day at the Races is a bit tighter than its predecessor, yet tighter doesn't necessarily mean better for a band as extravagant as Queen. One of the great things about A Night at the Opera is that the lingering elements of early Queen - the pastoral folk of "39," the metallic menace of "Death on Two Legs" - dovetailed with an indulgence of camp and a truly, well, operatic scale…

Originally released in 1976, the album finally has found an audience and has been reissued by Staubgold. Patrick Vian is the son of French jazz musician Boris Vian. He was also a member of the underground rock band Red Noise, who made one album that is quite well known among prog and psych collectors. Bruits Et Temps Analogues is actually quite an interesting album that has probably been taken for granted over the years. Vian has assembled a high caliber instrumental quartet that includes noted percussionist Mino Cinelu. Vian plays a variety of analog synths - Moogs and ARPs. George Granier is the second keyboardist and Ame Son's Bernard Lavialle plays guitar. The music is flat out prog rock. Vian's use of synths has a bit of a spacey quality but not in a textural way - he's playing laser-like leads while the band plays in a bit of a jazz rock style…

Esoteric Recordings are pleased to announce the release of Man’s classic 1976 album “Welsh Connection”. Recorded in 1976 following Man’s departure from United Artists records, the album saw a new line-up of the band featuring Micky Jones (Guitar / Vocals), Deke Leonard (Guitar, Vocals), Phil Ryan (Keyboards / Vocals), John McKenzie (Bass) and Terry Williams (Drums). Featuring tracks such as ‘The Ride and the View’, ‘Out of Your Head’, ‘Something is Happening’ and ‘Born With a Future’, the record reached the UK Top 40 and was to be Man’s last studio album of the 1970s. This Esoteric Recordings edition has been newly remastered from the original master tapes and features the bonus track “I’m a Love Taker”, along with the entire recording of Man’s concert at The Keystone, Berkeley, California on 9th August 1976…

On the back cover of Captured Live!, Johnny Winter's second live album (following 1971's Live Johnny Winter And), Winter is pictured with his band (second guitarist Floyd Radford, bass player Randy Jo Hobbs, and drummer Richard Hughes) from the back, playing before a giant, open-air sports stadium full of fans. The photograph is not identified, leaving the impression, along with the large cheering heard on the LP itself, that Winter was headlining such a venue – but he couldn't have been, because he isn't that big a name. He must have been performing as part of a festival or opening for an act that can fill stadiums, like the Rolling Stones.

Tejas is the fifth studio album by the American rock band ZZ Top. It was released in late November 1976. The title is a Caddo language word meaning 'friends', which is the origin of the name of the band's home state, Texas. On Tejas, ZZ Top countrified the bluesy posture of their previous albums, resulting in a slight detour between the madcap spirit of Fandango and the psychedelic strut of Deguello. While the album lacks any singles as strong as "Tush" or "La Grange," "Arrested for Driving While Blind" is one of ZZ's classic anthems, capturing the group's wacky humor and jaunty good-time boogie. Other highlights include the driving "Enjoy and Get It On," "Avalon Hideaway," and the fine instrumental "Asleep in the Desert."