Michael Gallucci is the managing editor at Ultimate Classic Rock. His previous gigs include editor-of-chief at Diffuser.fm, managing editor of Cleveland Scene and writing about music and movies for All Music Guide, American Songwriter, the A.V. Club, Paste, Spin, the Village Voice and other publications and websites. @mgallucci
Michael Gallucci
Black Keys, ‘Dropout Boogie': Album Review
Following roots-nodding covers LP 'Delta Kream,' duo gets back to basics for 11th record.
Reissue Roundup: Winter Sets From Pink Floyd, Frank Zappa, More
Year is off to a slow start, but a handful of new archival sets make up for it.
Neil Young and Crazy Horse, ‘Barn': Album Review
Veteran singer-songwriter teams up with his best backing band for typically loose and spontaneous set.
James Bond Movies Ranked Worst to Best
From Connery to Craig, with everything in between (yes, those two films too), a look at 007's highs and lows.
45 Years Ago: Stevie Wonder Releases His Masterpiece, ‘Songs in the Key of Life’
He didn't have to prove anything by this point, but he doubled down on his legend anyway.
Reissue Roundup: Winter Sets From Black Sabbath, Bob Dylan and More
A rundown of new box sets, deluxe editions and archival releases from the past few months.
50 Years Ago: Sly and the Family Stone Sum Up First Era on ‘Greatest Hits’
Sunny singles and album tracks, all before things got dark and weird.
Wilco Announce Deluxe Edition of ‘Summerteeth’
Band's third album gets reissued with unreleased studio tracks and live set.
Pretenders, ‘Hate for Sale': Album Review
On the band's 11th album, Chrissie Hynde returns to her roots and finds reasons to get passionate again.
Reissue Roundup: Spring Sets From David Bowie, Rush and More
Archival releases included radio sessions, live shows, remasters and other goodies from the vaults.
How ‘The Long and Winding Road’ Served as the Beatles’ Requiem
This final classic-era single arrived three days after the release of the group's last album.
How Paul McCartney Went Totally Solo With ‘Coming Up’
Studio version was released as a single, but a live version on the B-side reached No. 1.