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is the sixth studio album from NRBQ, released in 1978 on Mercury Records. In keeping with the band's well-known sense of humor, the album's title is itself a bit of a joke. While it would appear the album is a live concert recording performed at the stadium, it is not; the album credits read "Recorded at Bearsville Studios, November 1977 (not at Yankee Stadium)".

is a 1962 album by jazz musician Bill Evans. It was recorded on July 16–17, 1962 in NYC for Riverside Records.

This is one of the wonderful recordings of the 70s era produced by japanese audiophile label Three Blind Mice.

is a 1962 album by jazz musician Bill Evans, and the first trio album recorded by Evans after the death of Scott LaFaro. With Chuck Israels on bass taking the place of LaFaro, Evans recorded several songs during these May and June 1962 sessions. contains a collection of ballads recorded during this period. The more uptempo tunes were put on .

was King's first of three releases for Shelter Records, Leon Russell's Tulsa-based label. In fact, when Russell first formed Shelter, he reportedly did so partly to play out his vision of recording one of his favorites, Freddie King.

is the third studio album by Canadian musician Neil Young, released in August 1970 on Reprise Records. It was one of the four high-profile albums released by each member of folk rock collective Crosby, Stills, Nash & Young in the wake of their chart-topping 1970 album Déjà Vu. After the Gold Rush peaked at number eight on the Billboard Top Pop Albums chart; the two singles taken from the album, "Only Love Can Break Your Heart" and "When You Dance I Can Really Love", made it to number 33 and number 93 respectively on the Billboard Hot 100.

is a 1958 album by jazz pianist Sonny Clark. Described as an "enduring hard-bop classic" by the New York Times, the album features alto saxophonist Jackie McLean, trumpeter Art Farmer and two members of the Miles Davis Quintet, drummer Philly Joe Jones and bassist Paul Chambers. According to The Stereo Times, the album enjoys "a nearly cult status among hardcore jazz followers", a reputation All Music asserts it deserves "for its soul appeal alone".