Live LPs update.
It's been a while since our last message, so we thought it was high-time for an update.
Firstly, thanks to everyone who's bought the Plays Live album. "Gabriel at his arthouse best" according to Prog Magazine and "excellent" sound quality, said Clash. Hope you're enjoying the LP too.
In less positive news, we've had some delays with the delivery of Live In Athens and Secret World Live vinyl stock, which means we've had to move back these two release dates in order to make the deadlines with our distributors. For now, at least, Growing Up Live remains unchanged.
We know changes are frustrating and thank you for your patience. Here is the current state of play:
Live In Athens 1987
Release date in retail in the USA moves to 6 November (16 October in the ROW)
However, if you have bought the LP from the Real World shop it will ship for the 16 October release date.
Secret World Live
Release date is now 6 November (was originally 23 October)
This means retailers in the USA will now have Athens and Secret World Live available on the same day.
Growing Up Live
Release date remains 27 November (we hope!)
Bundles of all four LPs, bought from the Real World shop, will still ship in conjunction with the release of Growing Up Live.
Peter Walsh on Plays Live & Secret World Live.
Peter Walsh co-produced both Plays Live and Secret World Live with Peter Gabriel. He was also the front-of-house sound engineer for the Secret Word Live tour. Peter has been kind enough to give us some of his recollections of working on the two albums, which you can read here.
Sound engineer Ben Findlay discusses the process of restoring and mixing the audio for Peter Gabriel’s Athens concert of 1987, which he did for the So 25th anniversary box set release. It's his mix that was used to cut the Live In Athens 1987 LP.
Armando Gallo took the cover photograph used on both Plays Live and the new Live In Athens 1987 LP. One, a rare snapshot of stillness, the other a blur of movement. Fleeting moments, captured forever.
"I was always listening to the music when I photographed a concert," says Gallo. "Somehow my index finger pressed the clicker in time with the lights and the percussion - the heart of the music. I always felt grateful that I could shoot Peter’s entire shows. Once I asked Peter if he didn’t mind me being in the pit photographing his every move. 'No, I love to see a friendly face,' he answered. Making me feel good about it."