VIA PRESS RELEASE | Pulp has announced a reissue of their 1995 Mercury Prize winning and chart topping album, Different Class, to be released October 24 via Island Records/UMe. The album will be available as both a quadruple LP set and on double CD format and is expanded to include their legendary 1995 Glastonbury Festival set in full. It will be the first time that the Glastonbury performance has been released. Preorder here.

Following the release of Pulp’s recent number one album More and an acclaimed UK and Ireland arena tour, European headline shows and a weekend-defining set at this years Glastonbury Festival—the reissue of Different Class builds on what has already been a very special year for the group.

Jarvis Cocker explains how this new edition presents the album in an improved format, “This 45rpm double album version of Different Class will make it sound a whole lot better. We were obsessed with the fact that this was our ‘Pop’ album (we had finally achieved some ‘popularity’ when ‘Common People’ was a hit) and, as everyone knows, all pop albums have 12 songs on them: 6 tracks per side.

Only problem: this took the running time of the record to 53 minutes. We were told this would compromise the audio quality of the vinyl record—but we were more bothered about not compromising the quality of our Pop Dream. Now, 30 years later, we are finally ready for Different Class to be heard in all its glory. Different Class indeed.

The Glastonbury performance in June 1995 will always be the most significant concert of Pulp’s career. Three weeks after “Common People” hit No. 2 in the national charts the band filled in for The Stone Roses at the last minute. We played ‘Sorted For E’s & Wizz,’ ‘Mis-Shapes’ & ‘Disco 2000’—all receiving their live debut. This is first time the whole concert (including the long, drone-based intro) has been made available. Your chance to relive an historical moment.”

Read More »

Remembering Mark Volman. —Ed.

On the subject of The Turtles, the first thing to cross many people’s minds will be “Happy Together,” their huge hit from 1967. They scored other hit singles, some bigger than others, but they also had some LPs, and the initial four all portray a distinct point in the group’s development. Their 1965 debut It Ain’t Me Babe features a young band striving to find an individual voice while attempting to capitalize on their first hit. It’s a situation that often spells disaster, but in this case it results in a record that while small of scale and not without faults, nonetheless remains a highly pleasurable listen.

I’m unsure if there’s ever been any real consensus over which of The Turtles’ string of original, non-comp albums is their greatest. Indeed, the group doesn’t really get discussed all that often in LP terms, at least in my experience. Instead, they seem to remain in the cultural discourse mainly as an exponent of the mid-‘60s folk-rock boom, one that was able to break free of the substantial Dylan-isms of their early work to score a handful of pop hits that successfully straddled the fence betwixt the youth market and the era’s more “adult” record-buying audience.

Underscoring this is the fact that the only Turtles LP to enter the top twenty of the Billboard Album Chart was a compilation, 1967’s Golden Hits. But release full-length records they did, and the personal favorite of this writer is probably 1968’s ambitious yet refreshingly level-headed concept offering The Turtles Present the Battle of the Bands. That album found them dishing out 12 songs in a diverse range of musical genres and all of it under the guise of different fictitious and humorously-named groups.

But that disc was also a substantial change from what they’d been doing up to that point, in some ways more indicative, mostly in terms of wit, of Howard Kaylan and Mark Volman’s post-Turtles work as Flo & Eddie, a run that began with 1972’s Mothers of Invention-aided and still pretty hep sounding Warner-Reprise-issued The Phlorescent Leech and Eddie. But they didn’t totally break from their past on Battle of the Bands, for it did include two of their biggest hit singles in “Elenore” and “You Showed Me,” both making it to the #6 spot.

Read More »

He declined Jimmy Page’s offer to become lead singer of the New Yardbirds, soon to rename themselves Led Zeppelin. He said no to Richie Blackmore’s offer to replace Rod Evans as the lead singer of Deep Purple. He performed at the 1971 Saint-Tropez wedding of Mick and Bianca Jagger, before the likes of Beatles Paul and Ringo, Julie Christie, and Brigitte Bardot. His duet with Melanie on “Mr. Tambourine Man” at the 1971 Glastonbury Fayre is one of the Seven Wonders of Music. His name is Terry Reid, and he is the most fascinating man in the world.

If not one of the better known. Turning down a gig fronting Led Zeppelin will do that. But Graham Nash put it best when he said Reid should have been a “gigantic star.” He had a voice that gained him the nickname “Superlungs.” Think of a cross between Steve Marriott, Robert Plant, and, well, Melanie again, because he was definitely in touch with his feminine side. And he possessed a voice supple and flexible enough to do things Marriott, Plant, and Melanie never could. And at his best, which unfortunately wasn’t often enough for him to join the ranks of the superstars, he was a superb songwriter and interpreter of other people’s material.

It didn’t help that he never found his way into a big-name group. He remained a cult artist, and one who didn’t appeal to everyone; Robert Christgau of The Village Voice summed up Reid’s seventies work with a dismissive, “Persistence beyond the call of talent.”

But Reid should be better known, and the proof lies in his 1969 sophomore LP, the eponymous (and Mickie Most-produced) Terry Reid, which he recorded at the tender age of nineteen. The material is eclectic; impassioned acoustic guitar ballads mingle with hot-buttered soul numbers and rockers with rocket red glare galore, and this despite the fact that Reid’s trio didn’t include a bass player. Add a few covers that he definitely makes his own, and what you have is one very good album. His voice alone makes it so.

Read More »

VIA PRESS RELEASE | After a standout U.S. edition in Memphis earlier this year, Making Vinyl is spinning back to Europe. From September 24–26, 2025, PHIL Haarlem will once again host a dynamic international gathering of record pressing plants, indie labels, engineers, designers, distributors, suppliers, journalists—and record lovers from across the globe.

Now in its third edition in Haarlem, Making Vinyl Europe has become the key crossroads for the record business in Europe. It’s not just another conference. It’s where vinyl’s creative, technical, and commercial communities converge with panels, lab sessions, and honest conversations that get to the heart of where the industry is headed. “Making Vinyl exists to connect people, explore innovation, and most importantly—spark real dialogue,” said Andreas Kohl, Conference Director of Making Vinyl Europe. “The industry is evolving, and this is where we figure out what that means, together.”

A First Glimpse at the 2025 Program: The Future of Vinyl. The full speaker lineup is on the way, but here’s a preview of what’s in store this September:

• B2B Sensemaking: Facilitated conversations across the supply chain, from materials to market. Focus on sustainability, circular economies, and rethinking physical media for a changing world.
• Panel Talks: Top voices from labels, artists, manufacturers, and designers address challenges and opportunities around production, promotion, logistics, and visibility.
• Making Vinyl Lab: Hands-on sessions exploring test pressings, mastering workflows, software tools, and technical standards.
• New Markets, Real Talk: Open conversations on global growth, from the MENA region to emerging collectors and retail shifts.
• Spotlight on Counterfeiting, Logistics & DIY Models: Practical insights for everyone from startups to global players.
• Sustainability Summit (Friday): A full-day track dedicated to material innovation, recycling strategies, and building a more responsible industry.

Read More »

Celebrating Al Stewart on his 80th birthday. —Ed.

1976 was rock’s annus mirabilis. America’s Bicentennial Year–which I spent patriotically popping plenty of red, white, and blue pills—saw the release of such immortal LPs as Frampton Comes Alive, Hotel California, and Fly Like an Eagle, to say nothing of such timeless singles as Paul McCartney and Wings’ “Let ‘Em In,” Gary Wright’s “Dream Weaver,” Chicago’s “If You Leave Me Now,” Barry Manilow’s “I Write the Songs,” and Leo Sayers’ “You Make Me Feel Like Dancing.”

Despite the ominous pall cast by the advent of punk—that surly horde of three-chord barbarians who threatened to storm the gates and sack classic rock, just as the Visigoths did Rome—1976 may well be greatest year of rock ever. Fortunately punk soon went the way of the dodo, with just about everyone involved trashing their “Please Kill Me” t-shirts to join Haircut 100, where they wore their socks over their pants legs like complete prats.

But returning to 1976, it seems I have omitted to mention what may well have been the year’s finest release. I’m talking, of course—as you’ve almost certainly guessed—about Al Stewart’s Year of the Cat. Its amazing singles “Year of the Cat” and “On the Border” took America by storm, and all but the hopelessly unhip (i.e., Patti Smith, and Overdrive of Bachman Turner Overdrive) knew the opening lyrics of “Year of the Cat” by heart: “On a morning from a Bogart movie/In a country where they turn back time/You go strolling through the crowd like Peter Lorre/Contemplating a crime.”

While Stewart seemed to come out of nowhere—a fact that only added to the allure of his mysterious and cinematically detailed songs—the Scottish singer-songwriter and folk-rock musician had actually been mucking about England since 1966, when he released his debut single “The Elf,” which was about an elf. Four hundred and ninety-six copies were sold, mostly to elves. Jimmy Page, who looks like an elf, played on it.

Read More »

And now, for your entertainment, a Ghost Story. It takes place in Sweden, which if you’ve ever seen 2017’s The Ritual or tried to put an IKEA bookshelf together you know is one very scary place.

And even scarier (and I know I’m not getting to the point here) every year the Swedes of Gävle (wherever that is) construct a giant straw Christmas goat called the “Gävlebocken,” which is a horror movie scenario if ever I’ve heard one. Because, let’s face facts folks, nothing good can come of constructing a giant straw goat. Either the locals sacrifice wayward tourists (like you) to it or it comes alive and haunts the forest, slaughtering wayward hikers (like you). Do not, I repeat do not, include a trip to quaint Gävle in your Yule Season travel plans.

Parallel to this discussion, experiential entertainment continues gaining popularity as people seek alternatives to passive viewing or conventional social activities. I recently explored one such venue that exemplifies this trend perfectly, and you can learn more about their offerings at https://www.escaperoomsbristol.co.uk/. The three available experiences each present unique challenges wrapped in horror movie aesthetics, with production values that rival professional haunted attractions. Participants must work collaboratively under time pressure while navigating deliberately intimidating environments, from underground cellars to dystopian execution chambers. The psychological element of being “trapped” adds genuine stakes to the puzzle-solving, creating memorable experiences that groups discuss long afterwards.

But let’s get down to business. MY Ghost Story begins on the day Swedish metal musician Tobias Forge wrote a guitar riff and said to himself modestly, “This is probably the most heavy metal riff that has ever existed.” Forge then went on to do what any Swedish metal genius worth his Gävlebocken would do—sat down and wrote a whole slew of impossibly catchy metal, pop metal, and even plain old pop songs set to hilariously tongue-in-cheek Satanic lyrics. Then went out and put together an amusingly theatrical band called Ghost, whose anonymous members wear masks and are referred to only as “Nameless Ghouls.”

As for Forge, he adopted a “Papal Satanic” persona (complete with ghoulish make-up) and dubbed himself “Papa Emeritus,” to which he’s attached a series of Roman numerals as time has passed. Some of these “successions” have made for great stage theater, and for a while Forge went by the name “Cardinal Copia.” It’s hard to keep up, but I think he’s calling himself V Perpetua at the moment.

Read More »

WORDS AND IMAGES: DANA WALSH in AUSTIN, TX | If you’ve ever wondered what it feels like to be struck by lightning, let me tell you—it’s a lot like being at a Yungblud show. On August 30th, the British rockstar turned ACL Live at the Moody Theater into a chaotic, electrifying storm of raw energy, emotional connection, and pure rock ‘n’ roll madness. From the soulful grooves of opener Sawyer Hill to Yungblud’s explosive stage presence, this wasn’t just a concert—it was a full-blown experience. The kind that leaves you drenched in sweat, hoarse from screaming, and wondering how you’ll ever top a night like this. Buckle up, because this show was a wild ride from start to finish, and you’re going to want to relive every moment.

On Saturday night, Yungblud rolled into town and unleashed a lightning storm at ACL Live at the Moody Theater. The energy was already buzzing, and opening the night’s festivities was Sawyer Hill and his band—an alternative rock group from Arkansas that’s been making waves across the Southern states since Sawyer was a teen.

The fans were fired up and ready to rock—and they did just that. As soon as Sawyer started singing, you could feel it deep in your chest. His voice is powerful, low, and gritty, and his tone grabs you instantly. It was unreal. The band played with a soulful groove that got the whole room moving.

One standout track for me was “Firestarters.” It had a sultry tone but still packed a punch. Moody and full of grit—it was a favorite. They also played several fan favorites and even broke out a unique, soulful version of Johnny Cash’s “Folsom Prison Blues.” It was unlike any version I’ve heard before, and it was perfect for Sawyer’s voice. Imagine that!

Read More »

VIA PRESS RELEASE | Half a century after it dominated charts around the world, Elton John’s seminal album Captain Fantastic and the Brown Dirt Cowboy will receive a 50th Anniversary Edition reissue, out on October 24th via UMe. The special reissue will be available on multiple formats, including 2LP, 2CD, and 1LP, Live At Midsummer Music, Wembley Stadium 1975, which was the album’s live debut, as well as a booklet containing never-before-seen entries from Elton’s personal diary. All available to pre-order now here.

In 1975, Elton John was in the midst of a prolific run of unimaginable success, having broken into the mainstream in 1970 to become the biggest star on the planet. His 9th album in six years, Captain Fantastic and the Brown Dirt Cowboy, would break new ground in a plethora of ways. A concept album devised with Elton’s longtime collaborator and lyricist Bernie Taupin, it told the chronological story of the early years of Elton (Captain Fantastic) and Bernie’s (the Brown Dirt Cowboy) musical careers in London as they struggled to break through.

Featuring the single “Someone Saved My Life Tonight,” the album went on to become the first in history to debut at #1 on the US Billboard 200 and the first to be certified Gold upon its release due to the number of pre-orders. It sold 1.4 million copies in its first four days and remained at the top of the chart for 7 weeks.

Captain Fantastic and the Brown Dirt Cowboy was written aboard The SS France—at the time, the world’s longest passenger liner—as Elton was taking the leisurely route back to the US for a breather in a very hectic year. With a sheaf of words already provided by lyricist Bernie Taupin, Elton wrote the music using downtime in the liner’s music room, the Salon Debussy, committing everything to memory as he didn’t have a tape recorder, before recording at Caribou Ranch with longtime producer Gus Dudgeon.

Read More »

Celebrating Martin Chambers, born on this day in 1951. —Ed.

A couple of days ago, I found myself doing something I haven’t done (no exaggeration) in years: dancing. I dervished about the apartment all by myself, like a lunatic, with the cat looking on from the safety of the bed, wide-eyed with eminent peril. I could tell the poor puss was thinking, “What the devil is he doing?” So I cried, “Listening to The Pretenders, you hairy little fool! And dancing!”

I would not call The Pretenders a great band, per se. A very, very good band, sure. Chrissie Hynde is an excellent songwriter, and has one of the most distinctive voices in rock. Unfortunately, like Badfinger, The Pretenders are just as famous for their tragically high mortality rate as they are for their music. During the 2-year hiatus between 1981’s Pretenders II and 1983’s Learning to Crawl, Hynde saw two band mates, guitarist James Honeyman-Scott and bassist Pete Farndon, die drug-related deaths. Technically Farndon was no longer a Pretender—Hynde fired him shortly before he died—but still. To paraphrase Oscar Wilde on the subject of orphans, to lose one band member is bad luck—to lose two, sheer carelessness.

Hynde, an Akron, Ohio native, formed The Pretenders in 1978 in London, England, where she was working as a journo for NME and at SEX, the legendary fashion boutique of Malcolm McLaren and Vivienne Westwood. She received a record contract on the strength of a demo recorded with a three-piece band including Phil Taylor of Motörhead, then hired a permanent group including Honeyman-Scott, Farndon, and drummer Martin Chambers.

The Pretenders’ first two albums included several hits; unfortunately, while the band was making its bones musically, it members were dropping like flies. By 1983’s Learning to Crawl 50 percent of the original group was dead, leaving just Hynde (lead vocals, rhythm guitar, and harmonica) and Chambers. But rather than throwing in the towel, Hynde hired Robbie McIntosh on lead guitar and backing vocals and Malcolm Foster on bass and backing vocals.

Read More »

PHOTO: CASSIE SCOTT | Joel Paterson knows the guitar. He relates to its history, believes in its progression of instrumental prowess, its evolution of sonics over the course of the twentieth and twenty-first centuries, and he creates his own version to introduce a new modern guitar dialogue for other players to commune with and respond to. Studying the antics and musical choices of guitarists from long ago and recent pasts, players ranging from Blues pioneer Robert Johnson to The Clash’s Mick Jones, Paterson maintains an intimate relationship with the instrument—which can only result in topnotch musical output.

His influences are more complex than old blues and punk. The Chicago-based Paterson primarily favors a carefully curated group of mid-century guitar players who pursued excellence in instrumental acumen above all else. Danish player Jorgen Ingman and the legendary Les Paul serve as inspirations.

Occasionally confined by the present-day limitations of non-commercial music among record companies and managers, Paterson tries to keep his sunny side up. Though he is a regularly booked musical act in the clubs and venues of Chicago, with a long-standing residency at the well-renowned Green Mill Cocktail Lounge, Paterson is always generating other projects too. Which occasionally leads him to collaborate on or produce the pop-rock works of other musicians like Annie Dolan, with their recent release Attaboy Girl (2024).

He is a studio wizard, adept at the classic rock era’s overdub process that creates a unique, painstakingly layered full guitar sound on records. But it is Paterson’s instrumental studio album releases from the last ten years, like the fascinating Beatles cover album Let it Be Guitar! (2019) and his underground hit Christmas record Hi-Fi Christmas Guitar (2017), with follow-up The More the Merrier (2023), that truly demonstrate his immenseness as a player, and showcase the unique irreplaceable value of his ardent history-forward musical quest in the 21st century.

In conversation with Paterson, we learn more about his musical motivations, how he precisely sculpts a complicated setlist, and why the guitar is still the most fascinating musical instrument around.

Read More »