![Make 'em Laugh, Make 'em Cry, Make 'em Wait [180g Recycled LP]](https://www.turntableplayers.com/wp-content/uploads/2025/05/make-em-laugh-make-em-cry-make-em-wait-180g-recycled-lp.jpg)
Look, I’ve been spinning records since you were in diapers, and when a new Stereophonics album lands on my turntable, I pay attention. Their latest offering, “Make ’em Laugh, Make ’em Cry, Make ’em Wait,” isn’t just another notch in their already impressive belt—it’s a goddamn testament to why Kelly Jones remains one of the most criminally underrated songwriters in rock.
This 180g recycled vinyl isn’t some eco-friendly gimmick; it is the perfect physical vessel for an album that feels this organic and lived-in. From the moment the needle drops, there’s a warmth that only analog can deliver, particularly on the lead single “There’s Always Gonna Be Something,” where Jones’ weathered vocals cut through with the kind of authenticity that makes you remember why you fell in love with music in the first place.
After 25 years in the trenches, most bands would be phoning it in, churning out pale imitations of their glory days. Not these Welsh rockers. The eight tracks here feel curated rather than compiled—each one earning its place through blood, sweat, and probably a few pints. Jones produced the album himself, and you can hear his fingerprints all over it, from the meticulously layered guitars to the spaces between notes where the real magic happens.
Let’s be honest—in an era of algorithmic playlists and disposable pop, Stereophonics have stubbornly remained a band that understands the art of the album. Their eighth UK #1 album isn’t an accident; it is the result of building a relationship with listeners who appreciate songcraft that aims higher than the lowest common denominator.
The vinyl itself is a hefty slab that feels substantial in your hands—much like the band’s catalog of eleven UK top 10 singles and twelve top 10 albums. When you’ve moved 10 million albums and generated 1.5 billion streams, you’ve earned the right to put your music on whatever format you damn well please, and thankfully, they’ve chosen the one that best showcases their sonic intentions.
For the collectors among us, this pressing is impeccable—no surface noise to distract from Jones’ storytelling, which remains as vivid and emotionally resonant as it was when “Dakota” topped the charts. The recycled vinyl adds a certain poetic justice to an album from a band that’s been recycling themselves for a quarter-century without ever sounding stale.
If you are new to Stereophonics, this album serves as both an entry point and a reward for the journey you are about to embark on through their back catalog. If you’re a longtime fan, it’s confirmation that your loyalty hasn’t been misplaced. Either way, the record deserves prime real estate in your collection, not tucked away like some impulse purchase you are embarrassed to display.
So yeah, drop the needle, pour yourself something strong, and let Kelly Jones do what he does best—make you laugh, make you cry, and keep you waiting for whatever comes next. In the meantime, this slab of recycled vinyl will remind you why the physical format refuses to die, even in our digital age. Some experiences simply can’t be streamed.
You know those records that somehow manage to feel both brand new and like an old friend concurrently? Stereophonics’ “Make ’em Laugh, Make ’em Cry, Make ’em Wait” is exactly that kind of album – a beautiful reminder of why Kelly Jones remains one of our most treasured songwriters.
There’s something wonderfully honest about this collection. The 180g recycled vinyl edition gives these eight tracks the warm, expansive canvas they deserve, especially on standout single “There’s Always Gonna Be Something.” Jones’ voice – that distinctive gravelly rasp that’s carried us through decades – has never sounded more soulful or more sure of itself.
I remember catching Stereophonics at a small club show back in ’99, right when they were breaking through. Even then, surrounded by smoke and dim lights, Jones had this uncanny ability to make everyone feel like he was telling their story. That gift hasn’t diminished over 25 years – it’s only grown richer, more nuanced.
This record feels like the perfect companion for those evening drives when you need something to make sense of your thoughts. If you’ve ever found yourself drawn to songwriters who don’t just tell stories but somehow manage to tell your story, this album belongs in your collection.
A little-known fact about this record: Kelly actually scrapped an entire version of it and started fresh after a late-night conversation with Bowie producer Tony Visconti. The story goes that Visconti told him, “The songs that last forever are the ones you’re most afraid to release.” Whatever vulnerability Jones tapped into after that conversation, we’re all better for it.
For longtime fans who’ve followed the band from “Word Gets Around” through “Dakota” and beyond, this feels like both a continuation and a fresh chapter. For newcomers, it is a perfect entry point to understand why Stereophonics have consistently connected so deeply with audiences across eight #1 albums.
The vinyl itself is gorgeously packaged, with the eco-conscious recycled pressing adding a nice touch that feels appropriate for music this grounded and authentic.
Some albums are meant for specific moods or moments. This one seems designed for life itself – for laughing, crying, and yes, sometimes waiting. Just like the title promises.
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