And he is live, absolutely! Rod Stewart in concert from L.A. to London and beyond on this great live album. 17 performances across 5 venues from a 1981-81 international tour.

The Alan Parsons Project was a progressive rock music entity comprised of engineer/ producer Alan Parsons and songwriter, musician and manager Eric Woolfson. They released 10 concept albums between 1976 – 1987 and have sold over 50 million albums world-wide. Their focus was on very high quality studio sound production and they recorded most of their work at Abbey Road Studios in London. They used a variety of different lead vocalists and musicians on every album – choosing who they felt was the best for each song rather than being constrained to moulding the material for one specific artist. They have been name-checked in The Simpsons and Austin Powers film and their music is used regularly in adverts, films, sporting events and is often sampled by US rap artists.

…on the evening of Sunday the 29th of July 2018 at Kozfest in Devon…after the clouds had finally dispersed and the sun was setting comfortably…

Anthony Lawrence Carey (born October 16, 1953, Watsonville, California) is an American-born, European-based musician, composer, producer, and singer/songwriter. One of his earliest musical experiences was in a band called Blessings, in which he played until 1975 when Ritchie Blackmore hired him as keyboardist for Rainbow…

Barclay James Harvest had streamlined their sound considerably after leaving the Harvest label, culminating (so many felt) in the mellifluous music of Gone to Earth. Their pretensions to progressive rock all but abandoned, BJH here invites comparison to contemporaries like Supertramp, REO Speedwagon, and Fleetwood Mac (some of whom were similarly tagged with the prog rock label early on)…

Queen were straining at the boundaries of hard rock and heavy metal on Sheer Heart Attack, but they broke down all the barricades on A Night at the Opera, a self-consciously ridiculous and overblown hard rock masterpiece. Using the multi-layered guitars of its predecessor as a foundation, A Night at the Opera encompasses metal ("Death on Two Legs," "Sweet Lady"), pop (the lovely, shimmering "You're My Best Friend"), campy British music hall ("Lazing on a Sunday Afternoon," "Seaside Rendezvous"), and mystical prog rock ("'39," "The Prophet's Song"), eventually bringing it all together on the pseudo-operatic "Bohemian Rhapsody."

Live at the Audio Club, Sao Paulo, Brazil, May 22, 2014 on '77 South American Tour.

Bob Dylan's first album is a lot like the debut albums by the Beatles and the Rolling Stones – a sterling effort, outclassing most, if not all, of what came before it in the genre, but similarly eclipsed by the artist's own subsequent efforts…

At a certain point, bad taste and bombast becomes so excessive and so grandiose that they're no longer an easily dismissed irritation but an astonishing monument to the warped imagination. Such a monument is Meat Loaf's Bat Out of Hell II: Back Into Hell, the long-delayed sequel to 1977's Bat Out of Hell. Once again songwriter/producer Jim Steinman has isolated high-school parking-lot aphorisms and inflated them to Wagner-on-Broadway proportions, casting Mr. Loaf as a heavy-metal Ezio Pinza. Typical of the album's strategy is its big hit single, "I'd Do Anything for Love (But I Won't Do That)." Steinman piles on the guitars, drums, synthesizers, and choral voices as if he were Phil Spector producing Kiss playing the Who songbook.

Dream You is the fourth studio album by the American country music band Pirates of the Mississippi. Released in 1993 as their final studio album for Liberty Records, it features the single "Dream You", which peaked at number 68 on the Billboard Hot Country Singles & Tracks (now Hot Country Songs) charts. Basically a party album, it contains songs like "Save the Wild Life," "Pop from the Top," "The Night They Rocked the Grand Ole Opry," and a full-tilt cover of Hank Thompson's "The Wild Side of Life."

Although hopelessly overshadowed by the seemingly endless British onslaught flowing from across the Atlantic throughout the 1970s, America's heartland produced an impressive number of quite worthy guitar heroes all its own; and for every Ted Nugent or Ronnie Montrose who attained a certain level of success in their day and are now regarded as true legends, countless dozens of additional candidates would remain forever lost under the radar. Such is the case of Chicago's highly deserving Jordan Macarus, whose primary work with local scene favorites Winterhawk went largely unheard outside the scope of die-hard collectors despite several decades of existence.

By the time this was released in 2001, John Mayall was more known for the people who played in his seminal British band, the Bluesbreakers rather than his own accomplishments. The success of 1999's Padlock on the Blues afforded Mayall the opportunity to fulfill his dreams and gather an all-star lineup of blues and rock luminaries…

The debut international long-player by the Bee Gees may shock anyone who only remembers them for their mid- to late-'70s disco mega-hits, or their quirky early-'70s romantic balladry. Up until 1966, they'd shown a penchant for melodic songs and rich, high harmonies, in the process becoming Australia's answer to the Everly Brothers…

Indeed, whatever happened to Benny Santini? The name that Magnet Records were considering using for their new solo signing but instead he went with his real name of Chris Rea, and Deltics was his second album after Whatever Happened to Benny Santini? and his first to reach the charts, althoug it didn't make much of an impact, only peaking at number 54 in the spring of 1979 – not the best time for an introspective singer/songwriter to crash the charts. Named after the British Rail class 55 of diesel locomotive trains that were built in the early '60s and were just about to be withdrawn from service, Rea showed his interest in various forms of transport that would continue throughout his recording career.

During their years of struggle, many artists turned their hands to something or other of which they are not especially proud. Both David Bowie and Elton John, for example, anonymously voiced a series of sound-alike singalongs for budget-priced compilation albums in the late '60s and early '70s, and that's just the tip of the iceberg. Rick Wakeman, too, had his flirtation with the "hits you like" factory back in 1971, when the U.K. Polydor label teamed him with the John Schroeder Orchestra to layer prog-tinged highlights over a host of recent pop hits. Released as the third volume in Polydor's Vibrations series, Elton John's "Take Me to the Pilot," Joe Cocker's "Delta Lady," "Classical Gas," and "Fire and Rain" all come in for the treatment and, in all honesty, it's an enjoyable selection.