Florence + The Machine releases their highly anticipated 6th studio album Everybody Scream. The band around frontwoman Florence Welsh has become an integral part of the global music scene! With seven Grammy nominations, multiple platinum and gold awards, five top 10 placements in the German album charts and more than 1.5 million records sold in Germany, Florence + The Machine is one of the most influential bands of the last decades. In the past, the band has worked with music greats such as Taylor Swift ("FLORIDA!!!"), Lady Gaga ("Hey Girl") and Calvin Harris ("Sweet Nothing"). The group became known for Florence Welsh's powerful vocals and their theatrical and often mystical sound, which delicately combines elements of art pop, indie rock and baroque pop. In their music, Florence + The Machine explores themes such as love, death and pain and draws inspiration from the art and literature of the Renaissance.

This Scottish heavy AOR quartet was put together in 1985 by brothers Ian (guitar) and David Stewart (bass) after demise of China White. With Jim Drummond (drums) and Tony Liddell (vocals), they debuted with a self-titled album in 1985. This offered a blend of Americanized, melodic AOR comparable with the work of Boston, Journey or Kansas. Produced by Kevin Elson (of Journey fame), it surpassed many expectations, but was ignored by the British public. Terry Brock (from Atlanta, USA) replaced Liddell on Native Sons, which saw the band consolidate their style and progress significantly as songwriters. It remains one of the sadly neglected albums of the pomp-rock/AOR genre. Walk In The Fire was not as immediate, with Brock’s vocals sounding hoarse and less sophisticated. He left to audition for Deep Purple in 1989, but was unsuccessful. Further albums were released with Ian Stewart on lead vocals.

This Scottish heavy AOR quartet was put together in 1985 by brothers Ian (guitar) and David Stewart (bass) after demise of China White. With Jim Drummond (drums) and Tony Liddell (vocals), they debuted with a self-titled album in 1985. This offered a blend of Americanized, melodic AOR comparable with the work of Boston, Journey or Kansas. Produced by Kevin Elson (of Journey fame), it surpassed many expectations, but was ignored by the British public. Terry Brock (from Atlanta, USA) replaced Liddell on Native Sons, which saw the band consolidate their style and progress significantly as songwriters. It remains one of the sadly neglected albums of the pomp-rock/AOR genre. Walk In The Fire was not as immediate, with Brock’s vocals sounding hoarse and less sophisticated. He left to audition for Deep Purple in 1989, but was unsuccessful. Further albums were released with Ian Stewart on lead vocals.

Featuring Paul "Sandy" Davis (lead vocals, 12-string guitar), Alan Cowderoy (lead guitar, vocals), Martin Kitcat (Mellotron, organ, piano, vocals), Tim Wheatley (bass, vocals) and Robert Lipson (drums), the band first came to prominence in 1968 when they supported The Who on tour. They recorded a single for Polydor Records before a support slot for King Crimson in 1969 led to them purchasing a mellotron and changing style. In 1970 their debut self-titled album appeared on the Vertigo label and the band were greeted with critical praise. This in turn led to Gracious! performing a set at the 1970 Isle of Wight Festival (joining a bill that featured Jimi Hendrix, The Doors, The Who, Family, ELP, The Moody Blues and many more). Their set was recorded and filmed but was to remain unreleased.

Frankie Goes To Hollywood’s 1984 double album Welcome to the Pleasuredome is being reissued as this deluxe 7CD+blu-ray deluxe set and on SDE exclusive blu-ray, amongst other formats.

The Who by Numbers functions as Pete Townshend's confessional singer/songwriter album, as he chronicles his problems with alcohol ("However Much I Booze"), women ("Dreaming From the Waist" and "They Are All in Love"), and life in general. However, his introspective musings are rendered ineffective by Roger Daltrey's bluster and the cloying, lightweight filler of "Squeeze Box." In addition, Townshend's songs tend to be underdeveloped, relying on verbosity instead of melodicism, with only the simple power of "Slip Kid," the grace of "Blue Red and Grey," and John Entwistle's heavy rocker "Success Story" making much of an impact.