Hello, I am Jamie, the Vinyl Historian.

I try to write the articles that interest me—answering the questions that come from decoding lyrics, scanning liner notes, and visiting the places where alchemy was sealed on vinyl for all to hear. I'm fascinated by the stories of how albums came to be, how lineups changed and evolved, and how that shaped the music that flowed. I wonder how bricks and mortar became the location for alchemy and how iconic recording studios are now forgotten to time, converted into offices or blocks of flats.

But most of all, I want to share my passion for music.

You won't find any hi-fi snobbery amongst these pages. I'm an average guy listening on an average stereo. I buy original pressings because I want to hear exactly how it sounded to those who bought the album on its very first release, before the imperfections or misprints were corrected.

I share album stories based on the stories I’ve read and the research I have done. These aren’t reviews as such, but more my understanding of how these albums came to be. I don’t plan to list my top tens because that’s impossible! I am partial to bands like Pink Floyd, Genesis, The Who, and the Eagles, but equally, I love singer-songwriters like Carly and Joni. I have played Hotel California (1976) far too many times, yet still find comfort and fascination within the grooves. I can happily get lost in The Lamb Lies Down on Broadway (1974), but I’m equally partial to The Turn of a Friendly Card (1980). I love music that breathes, like Love over Gold (1982) by Dire Straits or Pink Floyd’s Atom Heart Mother (1970).

I also love the artwork. Not just the iconic Pink Floyd covers we all know, but the work of other album artists like Mark Wilkinson from the Fish-era Marillion, or James Marsh with Talk Talk. From illustration to photography, I love the final images and the stories behind them—whether it's the striking portraits on covers like Playing Possum (197 Simon) or Hejira (1976), both captured by Norman Seeff, or the legendary moments caught on camera. The stuntman on fire on a Los Angeles backlot; Keith Richards descending, drink in hand, from a Rolling Stones-branded plane; Paul Simonon smashing his bass on the cover of London Calling (1979).

At the end of the day, it's just me, Jamie, sharing a passion for the vinyl era. I hope you enjoy reading my articles, and if you want to be part of the conversation, please come and follow me. I also have a contact page and am always keen to hear from you if you have a story to tell. Whether you worked as part of the machine in a small or grand capacity, or you simply want to share what you're listening to, I'd love to hear it.