Islands is the seventh studio album by the Canadian-American rock group the Band. Released in 1977 to mixed reviews, it is the final studio album from the group's original lineup. Primarily composed of previously unreleased songs from the Band's career (including their 1976 cover of "Georgia on My Mind", which was recorded to aid Jimmy Carter in his presidential bid), Islands was released to fulfill the group's contract with Capitol Records, so that the soundtrack to their film The Last Waltz could be released on Warner Bros. Records. In the CD liner notes, Robbie Robertson compares the album to the Who's Odds & Sods.

The official release of The Basement Tapes – which were first heard on a 1968 bootleg called The Great White Wonder – plays with history somewhat, as Robbie Robertson overemphasizes the Band's status in the sessions, making them out to be equally active to Dylan, adding in demos not cut at the sessions and overdubbing their recordings to flesh them out…

The Complete Album Collection Vol. One is a forty-seven disc box set released on November 4, 2013 by Bob Dylan. It includes thirty-five albums released between 1962 and 2012, six live albums, and a compilation album unique to the set, Side Tracks, which contains previously released material unavailable on regular studio or live albums…

The Last Waltz was a concert by the Canadian-American rock group The Band, held on American Thanksgiving Day, November 25, 1976, at Winterland Ballroom in San Francisco. The Last Waltz was advertised as The Band's "farewell concert appearance", and the concert saw The Band joined by more than a dozen special guests, including their previous employers Ronnie Hawkins and Bob Dylan as well as Paul Butterfield, Bobby Charles, Eric Clapton, Neil Diamond, Dr. John, Joni Mitchell, Van Morrison, Ringo Starr, Muddy Waters, Ronnie Wood, and Neil Young…

A confessional, cautionary, and occasionally humorous tale of Robbie Robertson's young life and the creation of one of the most enduring groups in the history of popular music, The Band.

The Band weren't planning on making an album when they started work on their fourth LP, 1971's Cahoots. Their manager, Albert Grossman, was building a recording studio in Woodstock, New York, where the members of the Band lived, and he invited them over to try the place out as finishing touches were being put on the studio…

The Band‘s fourth album, Cahoots, will be reissued for its 50th anniversary in December across four physical formats, including a five-disc super deluxe edition.

In celebration of the 50th Anniversary of The Band’s landmark debut album, Music From Big Pink is released in a limited edition of two pink vinyl LPs that feature a new stereo mix of the album, produced by Bob Clearmountain from the original four-track analog master…

Stage Fright, the Band's third album, sounded on its surface like the group's first two releases, Music from Big Pink and The Band, employing the same dense arrangements with their mixture of a deep bottom formed by drummer Levon Helm and bassist Rick Danko, penetrating guitar work by Robbie Robertson, and the varied keyboard work of pianist Richard Manuel and organist Garth Hudson, with Helm, Danko, and Manuel's vocals on top…

Elton John's Christmas Party is a Christmas-themed compilation album from British singer-songwriter Elton John. It features his 1973 Christmas single, "Step into Christmas", and a new duet with Joss Stone, "Calling It Christmas". According to John's introduction in the liner notes, as opposed to doing an album of his versions of already famous songs, he chose to do a compilation with some of his favorite holiday songs by other artists…

Jericho was a surprise. The reunited Band, minus guitarist Robbie Robertson, created an album that built on their strengths by using carefully selected contemporary songwriters and covers. Although it lacked the resonance of Music From Big Pink or even Stage Fright, the group sounded fresh and it was a better album than most of the Band's solo records. High on the Hog, the second album by the reunited Band, isn't quite as good but it has a number of stellar moments. The key to the album's success isn't the material – they're saddled with a couple of weak songs – but the group's interplay. By now, the musicians have developed a sympathetic interaction that sounds ancient but still living, breathing and vital. It's a joy to hear them play and that's what carries High on the Hog over its rough spots.