Latest about Singles And Albums
The borrowed hooks and unstable grooves behind Michael Jackson's Wanna Be Startin' Somethin'
We put one of MJ's best-loved tunes under the musical microscope and explore the unlikely origins of its iconic hook
Ride's Mark Gardener: "I’m definitely a gear nerd, but I had to stop otherwise I’d have gone bankrupt"
The Ride frontman chats to Danny Turner about the shoegaze tag and the driving force behind their seventh album, Interplay
"Songwriting for me, at the time of Rubber Soul, was a bit frightening because John and Paul had been writing since they were three years old": How The Beatles raised their game in 1965 to create a masterpiece that "broke everything open"
The Beatles' sixth album Rubber Soul was a colossal creative leap and marked the point at which albums began to be viewed as works of real artistic merit
“Not doing singles”: Billie Eilish announces that her third album, Hit Me Hard And Soft, will be released on 17 May, and teases a journey "through a vast and expansive audio landscape”
All physical and digital versions of the record will have the same tracklisting in a bid to reduce waste
"People say, ‘Oh, Bring It On Home is stolen’. Well, there’s only a little bit in the song that relates to anything that had gone before it, just the end”: Jimmy Page and the story of Led Zeppelin's Bring It On Home
"I remember we did vocal overdubs in an eight-track studio in Vancouver where they didn’t even have proper headphones. Can you imagine that?"
"CBS dumped us and we couldn’t get the record out for ages": Jeff Hanneman and Kerry King on the making of Slayer's Angel Of Death – and the fallout that followed
In 2011 Slayer's guitarists reflected on their classic and the blowback from its subject matter
“I had enough money for one last demo and sent it off to 24 companies, then figured I’d sit back and wait for the rejection letters": How Tom Scholz's years of dogged determination and intricate guitar tracking paid off for Boston and More Than A Feeling
“Epic flat-out rejected it and sent me an insulting letter!”
“Every time I opened a music paper it said, ‘Johnny Marr – jingle jangle’. I'd just had enough”: How The Smiths defied expectations on their final album, Strangeways, Here We Come
Johnny Marr and Morrissey’s relationship may have crumbled during its creation, but The Smiths’ final album is regarded by many as their best
“It was the tune that changed everything” for Noel Gallagher and Oasis, with his greatest guitar solo – but it turns out that Live Forever got a serious guitar edit in the control room
"It was essentially the same solo that’s on the finished version Noel always plays live, but when it went high on the second half all I could think of was Slash in leather kecks with a wind machine on the Grand Canyon"
