
Terry Reid, British musician championed by the Rolling Stones, Jimmy Page and more, dies aged 75
Reid never had a hit on the UK charts, but albums such as 1973's River remain critically acclaimed, and he was held in such high esteem that he was courted by Led Zeppelin and Deep Purple to be those bands' lead singer, but turned each of them down. Aretha Franklin stated in 1968: 'There are only three things happening in England: the Rolling Stones, the Beatles and Terry Reid.'
Born and raised in Cambridgeshire, Reid was a singer, guitarist and songwriter from his early teens, initially with local group the Redbeats. After supporting Peter Jay and the Jaywalkers, Reid was asked to join the latter band. By 16, he was supporting the Rolling Stones on tour along with Ike & Tina Turner and the Yardbirds, and after breaking away as a solo artist (and befriending Jimi Hendrix), Reid supported the Stones again around the US.
Yardbirds guitarist Jimmy Page admired Reid and asked if he would join a new band he was forming, but Reid turned him down, citing his commitment to the Stones' US tour. He recommended Robert Plant, singer in Band of Joy, along with that band's drummer John Bonham: both men joined Page and formed Led Zeppelin. 'I was intent on doing my own thing,' Reid told the Guardian in 2024. 'I contributed half the band – that's enough on my part!'
He also turned down Ritchie Blackmore's offer to be Deep Purple's lead singer after Rod Evans's departure in 1969, but acknowledged: 'It was very flattering. Ritchie was one hell of a guitar player.' Ian Gillan would become Deep Purple's vocalist instead.
Reid signed a management and recording deal with svengali Mickie Most, who oversaw his first two studio albums. His debut Bang Bang, You're Terry Reid contained a song he wrote when he was 14 years old, Without Expression, which would end up being covered by John Mellencamp, REO Speedwagon and Crosby, Stills, Nash & Young. There were other high-profile tour support slots, with Cream, Fleetwood Mac, Jethro Tull and more. But Reid's albums were not commercial successes, and Reid, not seeing eye to eye creatively with Most, eventually split from him.
After some years in limbo thanks to a contractual dispute with Most, Reid returned to recording with 1973's River, the first of three albums that decade, and moved to California. But he put his solo career on hold in the 1980s, focusing instead on session work with artists including Bonnie Raitt, Don Henley and Jackson Browne.
A comeback in 1991 with the Trevor Horn-produced album The Driver was not commercially or creatively successful, and though his cover of the Spencer Davis Group's Gimme Some Lovin' appeared on the soundtrack to Tom Cruise movie Days of Thunder, Reid later pronounced The Driver 'unlistenable'.
Reid's earlier albums became favourites of crate diggers and musos, and he was sought out by artists including DJ Shadow and Alabama 3 for guest appearances in his later years. Jack White's band the Raconteurs, Marianne Faithfull and Chris Cornell were among the artists who covered his songs. He told the Guardian of unreleased sessions made with Dr Dre, who 'became fascinated with [Reid's album] Seed of Memory and invited me into his studio where we reworked it alongside his rappers, a fascinating experience'.
He also continued to tour, but had to cancel a recent run of live dates amid his cancer treatment. A crowdfunding appeal was set up to cover his medical expenses, which read: 'Terry's spirit remains strong, and he's deeply grateful for the outpouring of care he's already received.'
Reid is survived by his wife, Annette. Tributes have been paid by musicians including Joe Bonamassa, who said Reid was 'one of the greatest to ever do it and a beautiful person and soul'.
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The Guardian
19 minutes ago
- The Guardian
Terry Reid, British musician championed by the Rolling Stones, Jimmy Page and more, dies aged 75
Terry Reid, the British musician whose soaring and soulful voice earned him the nickname 'Superlungs', and whose career intersected with the likes of the Rolling Stones and Jimmy Page, has died aged 75, as confirmed by his UK representative. He had been receiving cancer treatment in recent months. Reid never had a hit on the UK charts, but albums such as 1973's River remain critically acclaimed, and he was held in such high esteem that he was courted by Led Zeppelin and Deep Purple to be those bands' lead singer, but turned each of them down. Aretha Franklin stated in 1968: 'There are only three things happening in England: the Rolling Stones, the Beatles and Terry Reid.' Born and raised in Cambridgeshire, Reid was a singer, guitarist and songwriter from his early teens, initially with local group the Redbeats. After supporting Peter Jay and the Jaywalkers, Reid was asked to join the latter band. By 16, he was supporting the Rolling Stones on tour along with Ike & Tina Turner and the Yardbirds, and after breaking away as a solo artist (and befriending Jimi Hendrix), Reid supported the Stones again around the US. Yardbirds guitarist Jimmy Page admired Reid and asked if he would join a new band he was forming, but Reid turned him down, citing his commitment to the Stones' US tour. He recommended Robert Plant, singer in Band of Joy, along with that band's drummer John Bonham: both men joined Page and formed Led Zeppelin. 'I was intent on doing my own thing,' Reid told the Guardian in 2024. 'I contributed half the band – that's enough on my part!' He also turned down Ritchie Blackmore's offer to be Deep Purple's lead singer after Rod Evans's departure in 1969, but acknowledged: 'It was very flattering. Ritchie was one hell of a guitar player.' Ian Gillan would become Deep Purple's vocalist instead. Reid signed a management and recording deal with svengali Mickie Most, who oversaw his first two studio albums. His debut Bang Bang, You're Terry Reid contained a song he wrote when he was 14 years old, Without Expression, which would end up being covered by John Mellencamp, REO Speedwagon and Crosby, Stills, Nash & Young. There were other high-profile tour support slots, with Cream, Fleetwood Mac, Jethro Tull and more. But Reid's albums were not commercial successes, and Reid, not seeing eye to eye creatively with Most, eventually split from him. After some years in limbo thanks to a contractual dispute with Most, Reid returned to recording with 1973's River, the first of three albums that decade, and moved to California. But he put his solo career on hold in the 1980s, focusing instead on session work with artists including Bonnie Raitt, Don Henley and Jackson Browne. A comeback in 1991 with the Trevor Horn-produced album The Driver was not commercially or creatively successful, and though his cover of the Spencer Davis Group's Gimme Some Lovin' appeared on the soundtrack to Tom Cruise movie Days of Thunder, Reid later pronounced The Driver 'unlistenable'. Reid's earlier albums became favourites of crate diggers and musos, and he was sought out by artists including DJ Shadow and Alabama 3 for guest appearances in his later years. Jack White's band the Raconteurs, Marianne Faithfull and Chris Cornell were among the artists who covered his songs. He told the Guardian of unreleased sessions made with Dr Dre, who 'became fascinated with [Reid's album] Seed of Memory and invited me into his studio where we reworked it alongside his rappers, a fascinating experience'. He also continued to tour, but had to cancel a recent run of live dates amid his cancer treatment. A crowdfunding appeal was set up to cover his medical expenses, which read: 'Terry's spirit remains strong, and he's deeply grateful for the outpouring of care he's already received.' Reid is survived by his wife, Annette. Tributes have been paid by musicians including Joe Bonamassa, who said Reid was 'one of the greatest to ever do it and a beautiful person and soul'.


BBC News
31 minutes ago
- BBC News
Warehouse Project to bring in no-phone policy for some events
Manchester's Warehouse Project is set to introduce a no-phones policy for some of its ban will be in force during its shows in the Concourse section of the club at Depot Mayfield, with people required to place a sticker, which will be provided by the nightclub, over their phone's attending the full Warehouse Project (WHP) shows will be encouraged to keep their phones in their pockets, especially on the dancefloor. Organisers said club culture was "best enjoyed in the moment with your friends, and your phone in your pocket". WHP follows the likes of other venues and performers who have implemented a ban on phones including Bob Dylan who introduced the policy for his UK tour last a note on their website, the WHP team said: "We know WHP can be a BIG experience and we don't feel it's always our place to try and enforce a strict no-phones policy. "However, we feel that club culture is best enjoyed in the moment with your friends, and your phone in your pocket."The team said that they will not enforce a no-phones policy at full WHP shows, but there will be signs around the venue "asking people to simply respect those around them and limit use of phones generally whilst in the venue".They added: "At the end of each night, we're planning to share a huge archive of professionally shot content (photos and video) from that night that will be fully prepared for you to use on your own socials."Every set will be shot by our in house team and you will have immediate access to it as soon as the music stops." Listen to the best of BBC Radio Manchester on Sounds and follow BBC Manchester on Facebook, X, and Instagram. You can also send story ideas via Whatsapp to 0808 100 2230.


The Guardian
31 minutes ago
- The Guardian
Rift review – can a liberal and his white supremacist brother ever see eye to eye?
Families fell out over Brexit. They split over Trump. But few schisms can have been more severe than that of playwright Gabriel Jason Dean and his brother. It is a relationship that inspired this probing two-hander in which a bookish student at the start of a literary career (Blake Stadnik) visits his incarcerated sibling (Matt Monaco), hoping to help with his legal claim for release. As their meetings unfold over years and then decades, one becomes a celebrated champion of liberal values, while the other emerges as a white supremacist. What hope for reconciliation when each brother has views antithetical to the other's? It is a theme that was explored by Chris Thorpe in Confirmation (2014), which described the playwright's real-life attempt to see eye to eye with a Holocaust denier. That play was needling and unsettling in a way this one is not, but what Rift has on its side is the fraternal bond at its heart. With head shaved and swastika tattoo showing beneath his orange jumpsuit, Monaco frightens you with the ferocity of his stare and his air of volatility. In contrast, Stadnik could hardly look prissier with his neat business suit and ethical reading list. Yet these men are not strangers and cannot entirely discount each other. Their childhood history, in particular their repressed memories of abuse, gives them a bond that transcends matters of political difference. Directed with verve and intensity by Ari Laura Kreith for Luna Stage and Richard Jordan Productions, the play is at its most affecting when it reveals the vulnerable boys behind the damaged adults. If there is hope for a polarised culture, this is where it lies. There is humanity and understanding here – joining a far-right brotherhood may be a rational choice if your life depends on it – but Rift lets the audience off lightly by skirting the most awkward questions. At the Traverse, Edinburgh, until 24 August. All our Edinburgh festival reviews