Black.emmanuelle.white.emmanuelle.1976

Two classic easy-listening albums by famous French orchestra leader/arranger/composer Paul Mauriat, originally released in 1976 and 1973 on the Philips label, together on one CD and remastered from the original analogue stereo tapes for Vocalion's trademark crystal-clear sound.

Albert King is truly a "King of the Blues," although he doesn't hold that title (B.B. does). Along with B.B. and Freddie King, Albert King is one of the major influences on blues and rock guitar players. Without him, modern guitar music would not sound as it does - his style has influenced both black and white blues players from Otis Rush and Robert Cray to Eric Clapton and Stevie Ray Vaughan. It's important to note that while almost all modern blues guitarists seldom play for long without falling into a B.B. King guitar cliché, Albert King never does - he's had his own style and unique tone from the beginning…

White Light was a progressive/psychedelic rock group originally from New Orleans, then later from Austin, Texas, USA, where the group once recorded with Sonobeat Records (Mariani, Wildfire). White Light was comprised of Mike Hobren on guitars and vocals, Rob Haeuser on bass and synthesizers, and Rusty Haeuser on percussion and flute. On White Light's self-titled album, fans of Progressive Rock will be treated to a real romp of experimental music that utilizes a host of instrumentation and special effects. The group's music is powerfully expressed on the track Pacemaker. Mike Hobren employed a diverse range of styles and techniques on the guitar, including the use of a cello bow on the introduction to the track Stargazer. Rob Haeuser's bass grounded the music perfectly, and his synthesizer work was, at times, haunting. Rusty Haeuser provided well-rounded percussion to inject a powerful rhythm line into the music…

Technical Ecstasy is the seventh studio album by English rock band Black Sabbath, produced by guitarist Tony Iommi and released in September 1976. The album was certified Gold on 19 June 1997 and peaked at number 51 on the Billboard 200 Album chart….

Black Sheep, a Rochester, New York-based 1970s United States rock music band, was one of vocalist Lou Gramm's early working bands (it followed Poor Heart, which broke up c. 1970). The group, which had released the single Stick Around in 1974, the album Black Sheep in 1975, and the album Encouraging Words in 1976, was no longer performing when Gramm was invited by Mick Jones to join the band Foreigner.

This 1976 album by the late saxophonist Stan Getz is a reunion of sorts with Joao Gilberto, the great Brazilian guitarist and singer, and the music of Antonio Carlos Jobim (or Tom Jobim), along with the stylish and nonintrusive arrangements of Oscar Carlos Neves. The trio changed the world in the early 1960s with its Getz/Gilberto albums. With Neves, they almost did it again, but with all of the crap falling down around them in the musical climate of the mid-'70s - fusion, disco, overblown rock, and the serious decline of jazz - this disc was criminally overlooked at the time. Joining these four men in their realization of modern bossa and samba are drummers Billy Hart and Grady Tate, percussionists Airto, Ray Armando, and Ruben Bassini, bassist Steve Swallow, pianist Albert Dailey, and Heliosoa Buarque…

Everybody knows that Black Sabbath's legacy rests on their first four albums – after that, they lost their luster, or more precisely their mythic power. At their peak, which is how they are remembered, Sabbath were all about myth and power. Their very name had an ominous resonance, capturing their murky, foreboding sound perfectly…