MESMERISING SECOND\-ALBUM\-TOUR BROADCAST FROM PETER GABRIEL\nThe Lamb Lies Down on Broadway was Peter Gabriel final album with Genesis, but tensions increased during this period as Gabriel wanted to write all of the lyrics himself, and he split with the band after director William Friedkin had invited him to work on a screenplay. The project dissolved, and Gabriel returned to work with Genesis, but was late to deliver the lyrics and relied on contributions from Banks and Rutherford.\nDuring a stop in Cleveland, while on the Lamb Lies Down tour, Gabriel informed the band of his intention to leave at its conclusion.

It all happened on July 18, 2011 when Deep Purple entered the Arena di Verona, one of Europe's most spectacular concert locations, through the same entrance that was once used by the gladiators. Talk about being thrown to the lions!, jokes Don Airey, who has nothing but fond recollections of this memorable night. Live In Verona is an exceptional recording of the complete show, featuring the Hard-Rock veterans together with a full orchestra. The Neue Philharmonie, a 38-piece orchestra from Frankfurt, accompanied them for the whole European leg of the tour. Deep Purple connected with the orchestra instantaneously, which led to some unique, outstanding moments during the tour, when orchestra members surprised the band with original arrangements. It created the sort of environment that we could all equally enjoy., says Airey. Both eventually came together as one, creating an electrifying night.

Tom Petty straddled the divide separating classic rock and new wave, revitalizing and reinvigorating the big jangle of the Byrds and the garage rock roar of the Rolling Stones with his earliest records with the Heartbreakers in the late 1970s. Over the next decades, Petty expanded and refined this blend, almost always with guitarist Mike Campbell and keyboardist Benmont Tench – the musicians who had played with him since the early '70s, when they all were in the rambling country-rock outfit Mudcrutch – by his side.

Tom Petty straddled the divide separating classic rock and new wave, revitalizing and reinvigorating the big jangle of the Byrds and the garage rock roar of the Rolling Stones with his earliest records with the Heartbreakers in the late 1970s.

Originally released in September 1987, A Momentary Lapse Of Reason was quickly embraced by fans worldwide, who flocked to attend the live tour dates, which started within days of the album’s release. The tour played to more than 4.25 million fans over more than two years, and, as a celebration of the enduring talent and global appeal of David, Nick and Richard was unsurpassed at the time.Filmed at Long Island’s Nassau Coliseum in August 1988 and directed by Wayne Isham, the 2020 release of the Grammy Award nominated Delicate Sound Of Thunder is sourced directly from over 100 cans of original 35mm negatives, painstakingly restored and transferred to 4K, and completely re-edited by Benny Trickett from the restored and upgraded footage, under the creative direction of Aubrey Powell/Hipgnosis. Similarly, the sound was completely remixed from the original multitrack tapes by longtime Pink Floyd engineer Andy Jackson with David Gilmour, assisted by Damon Iddins.Pink Floyd’s stellar supporting cast for the live dates included: Jon Carin (Keyboards, Vocals), Tim Renwick (Guitars, Vocals), Guy Pratt (Bass, Vocals), Gary Wallis (Percussion), Scott Page (Saxophones, Guitar), Margret Taylor (Backing Vocals), Rachel Fury (Backing Vocals) and Durga McBroom (Backing Vocals).

Almost from the start of their career, Deep Purple played sessions for the newly formed Radio 1, where they were championed by DJs such as John Peel, Tommy Vance and Pete Drummond, late night and weekend jocks who would feature underground music from the UK and overseas. Disc One here contains a number of sessions Purple recorded for the BBC between 1968 and 1970, during this era. Between ’70 and ’72, the band released three of their most renowned and heavy albums, Deep Purple In Rock, Fireball and Machine Head, all of which were huge successes in both the UK, and in the USA where they had now attracted a major following. On March 9th 1972 however, they were back in London, recording a final concert for Radio 1, at the Paris Theatre which was subsequently broadcast on the station, and now features in its entirety on the second disc of this new 2CD collection.

Whatever band Eric Clapton ran with, it inevitably became a 'supergroup'. His 1969 endeavours in Blind Faith and the Plastic Ono Band eventually gave rise to Derek and the Dominoes, but most importantly it also featured his fertile relationship with Delaney and Bonnie.Having sponsored a European tour for the band, Clapton was actively involved in the line-up himself alongside George Harrison and pals.Rox Vox proudly presents Delaney and Bonnie and Friends live in concert on Danish TV from the Falconer Theatre, Copenhagen in 1969.

PREVIOUSLY UNRELEASED RADIO SESSIONS 1966 - 1972 While David Bowie s early career was somewhat fragmented, a little disjointed and often sporadic, he was rarely off the wireless. And the sessions he recorded for radio across this period, makes for a fascinating body of work. This 2 x CD collection features nearly 2 hours of such FM sessions, previously unreleased on CD and in near perfect quality. Including cuts originally recorded for shows such as Top Gear, Sounds Of The Seventies, The Sunday Show and a number of other programmes, this set will delight Bowie fans as it completes the availability of material originally intended to be heard only via the airwaves.

Talking Heads were an American rock band formed in 1975 in New York City and disbanded in 1991. The band was comprised of David Byrne (lead vocals, guitar), Chris Frantz (drums), Tina Weymouth (bass), and Jerry Harrison (keyboards, guitar). They released eight albums, in addition to several well received live albums.

Si Rod Stewart a certainement imposé le respect au début de sa carrière de chanteur, à mesure qu’il a pris de l’âge et accordé plus d’importance à son statut de vedette, ce respect s’est érodé. Il fut un jour le meilleur interprète vocal du rock & roll ainsi qu’un compositeur accompli, créant une combinaison brute de folk, de rock, de blues et de country incomparable à n’importe quel morceau de folk-rock ou de country-rock. Plutôt que de montrer le folk dans le rock, il a montré comme le folk pouvait " rocker " à lui tout seul. Une fois devenu célèbre, il commence à perdre les éléments les plus fondamentaux de sa musique et abandonne son propre chemin artistique en faveur des tendances pop qui se présentent.

Bruce Springsteen, Greatest Hits Broadcast Collection. Since the age of 15, Springsteen's life has been focused on rock 'n' roll. He's always been a leader, and it was during his teens he headed a series of bands such as Child and Dr. Zoom and the Sonic Boom. Springsteen soon became a local bar favourite, and even played as far afield as the Fillmore in San Francisco. He was also making regular runs into Manhattan, appearing as both a bandleader and soloist in Greenwich Village clubs, learning his craft in the most basic and diverse way possible. Although the more intimate surroundings of New York's Bottom Line was a sanctuary for the singer/songwriter.

Bruce Springsteen once said he intended to make an album with words like Bob Dylan that sounded like Phil Spector with vocals like Roy Orbison's, a nifty summary of many, but not all, of his artistic ambitions and a key to his appeal. Unlike any other singer/songwriters saddled with the appellation of "the new Dylan" in the early '70s, Springsteen never hid how he was raised on '60s AM radio. He loved rock & roll, whether it was the initial blast from the '50s or the mini-symphonies from the days before the Beatles or the garage rockers that surfaced in the wake of the British Invasion, and all this could be heard within his wild, wooly collective E Street Band, a group who debuted on his second album, 1973's The Wild, The Innocent & The E Street Shuffle, and who would support him throughout most of his career.

Bruce Springsteen once said he intended to make an album with words like Bob Dylan that sounded like Phil Spector where he sang like Roy Orbison, a nifty summary of many, but not all, of his artistic ambitions and a key to his appeal. Unlike any other singer/songwriters saddled with the appellation of "the new Dylan" in the early '70s,

John Mellencamp was born in Seymour, Indiana on October 7, 1951. He started out for a brief period of time as a glam rocker, but then tried out for a solo career with his first album Chestnut Street Incident released by former David Bowie manager, Tony DeFries on the Mainman (division of MCA) label. That album was a complete flop partly due to the fact that the record label wanted to mold John into something he was not (a pretty boy ala James Dean) and the fact that the album mostly consisted of cover songs.

The continuation of Eliminator's synthesized blues boogie made sense on Afterburner, since it arrived two years after its predecessor. ZZ Top's choice to pursue that direction on Recycler is puzzling, since a full five years separates this from Afterburner. It's not just that they continue to follow this path; it's that they embalm it, creating a record that may be marginally ballsier than its predecessor, but lacking the sense of goofy fun and warped ambition that made Afterburner fascinating. Here, there's just a steady, relentless beat (Frank Beard is still chained to the sequencer, as he has been for a decade), topped off by processed guitars turning out licks that fall short of being true riffs.