According to some new information, a special reissue of The Smiths’ debut album was reportedly abandoned due to disagreements between Morrissey and Johnny Marr.
Since the Gallagher brothers have buried the hatchet, guess someone’s got to keep the Manchester music feuding alive.
Yes, as per a high-profile source from Rough Trade, ‘Moz’ and Marr couldn’t settle on one key issue which would have seen the self-titled first Smiths LP re-released for their label and indie record store’s 50th anniversary.
Speaking on the German music podcast, Vinyl &…, one of Rough Trade’s European bosses revealed that aside from not exactly being chummy these days, the band’s two most famous members couldn’t agree on what the album artwork would be.
Whack on English subtitles to see what was said.
Yes, that really was the main sticking point, apparently.
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Curt Keplin, who is the managing director for Rough Trade’s EU presence, said that The Smiths were a big part of their golden jubilee/half-century celebrations.
Sadly, The Smiths’ inaugural outing then had to be pulled from the plans at the last minute, with the ‘Smooth Operator’ herself, Sade, taking their place.
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Initially set to fly the flag for the 1984 retrospective, Keplin said: “Actually, The Smiths were supposed to be included, but Johnny Marr and Morrissey couldn’t agree on how the packaging should look. So, things remain relatively difficult between those two.”
‘Difficult’ is probably putting it mildly, with Morrissey having long since accused his former bandmate, lead guitarist and co-songwriter turned solo artist, of controlling key rights that could see him tour as The Smiths without him.
He went on to add: “You first have to find an artist who is basically open to it and thinks it’s great and then gives us the rights – or rather, the label then says, ‘Ok, this is now being repressed in a different colour, in new packaging’, and so on and so forth.”
The anniversary stuff first began being compiled last summer, with 2026 being the start of a year-long schedule of limited edition vinyl releases and more – but unfortunately, The Smiths aren’t looking like they’ll be part of it.
While it may seem slightly petty to some, more than anything, it’s probably just symptomatic of the simmering resentment between the two that still remains.
However, fans of either or both have still been treated to Morrissey‘s latest and divisive drop, Make-Up Is a Lie, and Johnny Marr will be coming back to town for a massive homecoming gig at Castlefield Bowl.
Rochdale AFC go viral with song choice during promotion party celebrations
Danny Jones
Rochdale AFC are going viral on their return to the Football League, not just because of the remarkable end to their already spectacular season, but over their song choice during the promotion party in the dressing room.
We promise you: even if you haven’t seen it already, you will absolutely love this clip.
For those who haven’t been following their journey over the 25/26 campaign, Rochdale AFC were promoted back to League Two and the EFL proper, after more than a century in the top four divisions came to an end back in 2023.
Thankfully for the Greater Manchester side, who have always served as an important grassroots side throughout the decades, their hiatus wasn’t too long, and scenes inside the Wembley dressing room have been circulating all over social media – especially thanks to the track selection.
— National League on DAZN (@DAZN_NationalLg) May 10, 2026
If Olivia Dean is the artist of the moment, then Rochdale simply have to be one of the teams of the year.
Lifting the National League playoff trophy in the aftermath of a tense 2-2 draw, where the Vallians came back from a two-goal deficit to bring the tie level – thanks to goals from substitute Tyler Smith and Emmanuel Dieseruvwe in the 78th and 96th minute, respectively – you could say they were men in need.
Managing to then survive extra time and make it to penalties, another pair of crucial saves in the shoot-out from starring keeper Oliver Whatmuff, and a decisive miss from Boreham Wood’s Cameron Cox sealed the dramatic win for The Dale.
Breathless stuff.
All that being said, you’d expect some of the usual football-adjacent big win bangers to be heard in the aftermath of a playoff win: ‘Freed From Desire’, chants of ‘We are going up’, ‘Sweet Caroline’ these days, and so on.
But not these lot: they decided to stick on ‘Man I Need’, singing their hearts out and jumping up and down in unison like they were in one of her two recent Manc crowds themselves.
In case you missed it, her Co-op live shows were unsurprisingly incredible, but we’ll admit that seeing a bunch of blokes scream and cheer as they throw drinks in the air and sip suds straight from the shiny cup has definitely added another dimension to our love for this song and the Olivia ‘Deannaissance’.
Not only has the soulful singer-songwriter written one of the best radio hits in recent memory, for our money, but she’s even getting now former non-league footballers choosing her as the soundtrack to their main character moments.
You just love to see it (watch the full highlights HERE).
With Jimmy McNulty’s side having only just narrowly missed out on automatic promotion and the National League crown in that crazy title-decider against fellow entertainers York City, it can’t be denied that they’ve been the other truly box office outfit this term; another late comeback proved it once again.
No side with over 100 points and 90 goals scored should be denied going up and a piece of silverware, which is why, although they’ve been a great advert from the fifth tier, so many are still calling for ‘3UP’. We want more moments like this, please…
Tame Impala at Co-op Live, Manchester – lasers, lights, and a bit of a hangover
Daisy Jackson
The coolest man in the southern hemisphere has finally made his way back up north, for his first Manchester gig in a decade.
That cool man in question is Tame Impala, the music project of what-the-hell-can’t-he-play multi-instrumentalist Kevin Parker.
Sure, last year’s single release ‘Dracula’, and then its remix re-release with K-pop megastar Jennie, may have propelled Tame Impala up towards the top of the UK singles chart for the first time, but he’s got almost two decades-worth of music to dig through beyond that too.
It’s a hefty discography and it leads to a setlist that seems to almost peak about six times.
‘How could it possibly get better than this?’ we seem to ask as he plays The Moment, Elephant, Dracula, and Let It Happen pretty early on – but better it does indeed get.
It doesn’t seem to matter whether he’s up on the main space-ship-esque stage surrounded by lasers and lights, or sat on the floor of the B Stage playing around with a keyboard, Tame Impala has an irresistible, enchanting charisma. A lot more charisma that you’d expect from a man called Kevin.
Early on, he confesses that he’s quite severely hungover from last night’s show, where he had Dua Lipa (he wrote and produced her Radical Optimism album) as a surprise guest.
But you can see the hangover clear from his eyes in real time as 23,500 Mancs scream in his face. Which might not sound like a likely hangover cure, but who am I to argue with the evidence in front of me?
Although Kevin writes, produces, and records his music solo, he’s got half a dozen musicians up on the main stage with him, which looks like a convoluted space ship that fires confetti out of its thrusters (FOUR TIMES!).
With revolving lights, dancing lasers, and a metal grid base spewing out dry ice, it’s really one hell of a production.
It’s a light show designed to give us all a glimpse of his synesthesia (meaning he sees colours when he hears music (Billie Eilish has it too)) – essentially, if you couldn’t hear a thing and could only see the stage, you can still tell exactly what song is playing.
Still, when he saunters straight through the crowd to his smaller stage to mix tracks solo – no lasers, just a few lamps – flopping down onto a tangle of wires like a mad magpie building himself a nest, it’s a chance to remember this guy’s composing prowess.
A lot of the songs performed tonight are almost orchestral in their complexity, so that the whole show merges into one thundering, bewitching night of dancing and being blasted in the face by confetti.
It’s genius.
So can you not leave it another decade before you come back, Kevin?
Danny Jones -
9th March 2026 
