"Long Live Rock and Roll," released on 9 April 1978, represents a pivotal moment in rock history. The collaboration between Ritchie Blackmore and Ronnie James Dio produced a groundbreaking album that blended hard rock with medieval influences. Tracks like "Long Live Rock and Roll" and "Gates of Babylon" became anthems, solidifying Rainbow's legacy. This web page has photos of album covers, inner sleeves, record labels together with production details, musicians and track-listing.
Music has always been a universal language that transcends barriers and connects people across generations. In the world of rock music, few bands have left an indelible mark on the genre like Rainbow. Their iconic album, "Long Live Rock and Roll", released on a 12" Vinyl LP, stands as a testament to their musical brilliance and enduring legacy.
1. The Birth of a Rock Masterpiece:
"Long Live Rock and Roll" was released in 1978, marking the third studio album by Rainbow. Led by legendary guitarist Ritchie Blackmore, who had previously been a founding member of Deep Purple, Rainbow brought together a lineup of exceptionally talented musicians. The album showcased their distinctive sound, blending elements of hard rock, heavy metal, and classical influences.
2. Tracklist and Musical Excellence:
The album's tracklist is a testament to the band's musical prowess. From the powerful and anthemic title track, "Long Live Rock and Roll", to the epic and hauntingly beautiful "Rainbow Eyes", each song takes listeners on a unique sonic journey. The album also features rock classics like "Gates of Babylon" and "Kill the King", which exemplify Rainbow's ability to create energetic and memorable tracks.
3. Vinyl: A Gateway to Nostalgia:
The experience of listening to "Long Live Rock and Roll" on a 12" Vinyl LP adds a layer of nostalgia and authenticity. The vinyl format allows for a more immersive experience, with its large album cover, intricate artwork, and tangible connection to the music. The warmth and depth of sound that vinyl records provide give the album a unique charm, enhancing the listening experience for fans and collectors alike.
4. Artwork and Visual Appeal:
The album cover artwork of "Long Live Rock and Roll" is as iconic as the music itself. Designed by famed fantasy artist Ken Kelly, known for his work with Kiss and Manowar, the cover features a powerful image of a knight riding a winged steed, surrounded by a colorful rainbow. The artwork perfectly captures the spirit and essence of Rainbow's music, making it visually striking and instantly recognizable.
5. Enduring Impact and Legacy:
"Long Live Rock and Roll" is not just an album; it represents a pivotal moment in the history of rock music. Rainbow's ability to fuse intricate guitar work, powerful vocals, and epic songwriting created a unique sound that influenced countless bands in the years to come. The album continues to inspire musicians and rock enthusiasts, serving as a testament to the enduring power of the genre.
Bruce Payne - Management
The album: "RAINBOW - Long Live Rock and Roll" was produced by: Martin Birch
I first noticed Martin Birch on those early Iron Maiden sleeves—the ones with the typography that felt like a threat. At twelve, I didn’t care about "production value"; I just liked that the guitars didn't sound like mud. He was the man behind the sound mixer, the one who made the snare snap like a dry branch in a cold forest. He was "The Headmaster," and we were all just students of his high-voltage curriculum. Read more...
Birch didn’t just record noise; he organized aggression. By 1972, he was already wrangling the messy brilliance of Deep Purple’s Machine Head, turning Ian Gillan’s banshee wails into something that didn't just clip the tape but lived inside it. In 1980, he pulled off the ultimate renovation, giving Black Sabbath a much-needed shower and a new spine. Heaven and Hell shouldn't have worked, but Martin polished that Birmingham sludge into something operatic and gleaming. It was a pivot that felt like fate, mostly because he refused to let the mid-range get lazy.
Then came the long, obsessive stretch with Iron Maiden from 1981 to 1992. It was a twelve-year marriage to the fader. From the moment Killers (EMC 3357, for those who care) hit the shelves, the sound was physical. He knew how to let Steve Harris’s bass clatter like a machine gun without drowning out the melody—a sonic miracle that still feels fresh. You can almost smell the ozone and the dust on the Marshall stacks when the needle drops on The Number of the Beast. He stayed until Fear of the Dark, then simply walked away. No victory lap, no bloated memoir. He preferred the hum of the desk to the noise of the crowd, leaving us with nothing but the records and a slight sense of abandonment. But then, when you’ve already captured lightning on tape for twenty years, why bother hanging around for the rain?
Album cover design: Maxi Chan
Album cover illustration: Debbie Hall
British Hard Rock, Classic Rock
Polydor 2391 335
This 12" LP black vinyl music record comes comes in a Fold Open Cover (FOC), which is also also known as a Gatefold cover. The inner pages of this album cover contains photos of the audience during a live concert. iIt also ncludes the original custom inner sleeve with album details, complete lyrics of all songs by and artwork/photos
Record Format: 12" Vinyl Stereo Gramophone Record
Total Album (Cover+Record) weight: 230 gram
1978 Made in the Netherlands
The guy who made the guitar sound both medieval and radioactive, often in the same solo. Read more...
Ritchie Blackmore is the sort of name I see on a sleeve and instantly expect sparks: born Richard Hugh Blackmore (1945), he’s an English guitarist who helped hard-rock riffing grow teeth and then politely refused to stop. His era-stamps are basically whole chapters of rock history: Deep Purple (1968–1975, 1984–1993), where the riffs got louder, sharper, and more dramatic; Rainbow (1975–1984, 1993–1997), where he leaned into melody and fantasy like it was a weapon; and Blackmore’s Night (1997–present), where the electric storm calms down into Renaissance-folk textures without losing that unmistakable Blackmore touch. I love that arc: from amp-stacks and arena thunder to lutes-and-candles vibes, like he just swapped dragons for different dragons.
"Blackmore Signature Strats" I’ve spent too many nights chasing that Blackmore chime. Fender’s Artist Series Strat is a love letter to his ‘70s obsession—Olympic White with a graduated scalloped rosewood board that makes your fingers feel like they’re floating. The electronics are pure Ritchie logic: two Seymour Duncan Quarter Pounds for the bite and a dummy middle pickup. It’s a prop, a plastic decoy for us mortals. Then there’s the Fender Japan ST72-145RB. MIJ builds have a surgical precision, keeping the ‘72 vibe alive for the obsessive collector. We hunt these like lost relics, justifying the cost because a standard neck feels one-dimensional by comparison. It’s a specialized tool for a very specific kind of madness. But then, isn't that the whole point?
DIO is straight-up one of my all-time favorite hard rock and heavy metal singers. I clock him as a once-in-a-generation voice: pure power, ridiculous control, and that storyteller energy that makes metal feel like a myth you can actually hold in your hands Read more...
I always track his timeline like chapters I keep re-reading: Elf (1967–1975) where he sharpened the blues-rock grit, Rainbow (1975–1979) where the fantasy thunder really took off, Black Sabbath (1979–1982, 1991–1992) where he helped reboot the doom machine, Dio (1982–2010) where he built his own kingdom, and Heaven & Hell (2006–2010) where the classics came roaring back live.
Ronnie James Dio, I don’t just hear a singer here — I hear a frontman who could make a chorus feel like a battle standard and a quiet line feel like a warning whispered in a cathedral. When he lit the fuse in Rainbow on “Ritchie Blackmore’s Rainbow” and especially “Rising” (yeah, that one), it was all high drama and sharpened melody. When he walked into Black Sabbath and dropped “ Heaven and Hell ” and “Mob Rules,” he didn’t “replace” anyone — he gave the band a whole second spine. And when he planted the flag with Dio on “Holy Diver” and “The Last in Line” (and later “Sacred Heart” for the big-chorus arena punch), the signature stayed the same: massive hooks, bigger conviction, and that unmistakable “this matters” intensity that makes you sit up like the record just called your name. Ronnie James Dio Wiki
Cozy Powell is the kind of drummer I file under “human avalanche”: big hands, bigger feel, and a groove that hits like a freight train in leather pants. Read more...
Cozy Powell, for me, is the textbook example of “power that still swings”—he can be thunderous without turning stiff, flashy without turning messy, and he always leaves space for the riff to breathe. When I hear him, I hear commitment: the snare cracks, the toms roll like incoming weather, and the whole band suddenly sounds like it got upgraded to arena mode. Timeline-wise, I always map his career in loud chapters—The Jeff Beck Group (1970–1972), Rainbow (1975–1980), Michael Schenker Group (1980–1982), Whitesnake (1982–1985), Emerson, Lake & Powell (1985–1986), Black Sabbath (1988–1991, 1994–1995), and the Brian May Band (1991–1992, 1993–1994, 1998).
David Stone (Birth-name: Michael David Stoyanoff ) an English keyboardist and pianist who is best known for his work with the legendary rock band Rainbow. He joined Rainbow in 1981 and appeared on their album "Difficult to Cure." Stone was with the band for three years and performed on several tours with them.
Before joining Rainbow, Stone was a session musician and worked with several notable artists, including The Alan Parsons Project, Kate Bush, and Gary Moore. He has also released several solo albums and continues to perform and record music.
As a keyboardist, Stone is known for his versatility and dynamic playing style, which combines classical, jazz, and rock influences. He has received critical acclaim for his work with Rainbow and is regarded as one of the best keyboardists in the rock genre.
Overall, David Stone is an accomplished musician with a long and varied career in the music industry. He continues to be a respected and sought-after performer and has made a significant impact on the rock music world.
Note: The images on this page are photos of the actual album. Slight differences in color may exist due to the use of the camera's flash. Images can be zoomed in/out ( eg pinch with your fingers on a tablet or smartphone )
"Rainbow Best of Rainbow" is a compilation album by the British rock band Rainbow, which was released in 1981. It features some of Rainbow's most popular and well-known tracks from their first six studio albums
Best of Rainbow 12" Vinyl LP
"Bent Out of Shape," a final studio album pre-Deep Purple reunion, marked a pivotal moment in the band's history. Released on vinyl LP in Germany, it showcased Ritchie Blackmore and Roger Glover before their return to Deep Purple.
- Bent Out of Shape (1983, France) - Bent Out of Shape (1983, Germany)
Rainbow's fifth studio album, "Difficult to Cure" (1981), marked a pivotal moment in the band's evolution. Led by Ritchie Blackmore and featuring Joe Lynn Turner, the album blended hard rock with classical influences
Difficult to Cure
"Down To Earth" album is a timeless classic that showcases the band's exceptional talent and musical prowess. With its memorable songs, exceptional performances, and the added visual element of the 12" photo insert/leaflet
Down To Earth 12" Vinyl LP
"Final Vinyl" is a collection of live recordings and B-sides by Rainbow and was released in 1986, after the band had already ceased to be when Blackmore and Glover were part of the Deep Purple reformation.
Finyl Vinyl 12" Vinyl LP
"Long Live Rock and Roll," released on 9 April 1978, represents a pivotal moment in rock history. The collaboration between Ritchie Blackmore and Ronnie James Dio produced a groundbreaking album
- Long Live Rock 'n' Roll (1978, Germany) - Long Live Rock 'n' Roll ( 1978 , Netherlands ) - Long Live Rock 'n' Roll (1978, West-Germany)“Rainbow - On Stage” captures the band at peak power in 1977, when hard rock meant long solos, big drama, and zero restraint. Recorded live while “Rising” still ruled the racks, this double LP lets the songs stretch, burn, and roar. Dio dominates the stage, Blackmore lets riffs wander and bite, and the crowd fuels every climax. No studio safety net here—just loud amps, heavy grooves, and pure late-70s arena thunder.
“Ritchie Blackmore’s Rainbow” sounds like thunder trapped in crystal. It’s a 1975 time capsule where hard rock meets myth, led by Blackmore’s lyrical guitar and Dio’s commanding voice. Tracks like “Man on the Silver Mountain” and “Catch the Rainbow” feel born from the same storm—part medieval vision, part amplifier fury. A debut as confident as it is otherworldly.
"Rising" is the 2nd heavy metal album by Rainbow, released in 1976 . With founder Ritchie Blackmore retaining only Ronnie James Dio from the previous album, Rising has become known as the best album of Rainbow's career
- Rising (1976, Austria) - Rising (1976, Germany) - Rising (1978, USA)
Released in 1982, Rainbow's "Straight Between the Eyes" is a hard rock album featuring vocalist Joe Lynn Turner. Backed by Ritchie Blackmore's guitar, the album blends strong vocals with melodic hard rock
- Straight Between the Eyes (1982, Germany) - Straight Between the Eyes (1982, Netherlands) - Straight Between the Eyes (1981, UK)