Since its inception in 1985, SOUND ON SOUND magazine has always included insightful interviews with the artists and technicians involved in the recording process of many top albums, across all manner of musical genres.
We don't ask them the colour of their underwear or who they're dating — SOS concentrates on "tech talk". And we regularly feature interviews with our very own readers, in Studio SOS and Readerzone, to discover how the gear we test is being creatively used and abused in the real world.
Below is a monthly-updated list of articles from various sections to whet your appetite! To find more, please use the SEARCH page and select options from the dropdown menus.
Forty years after its original release, Mike Oldfield tells us the story of recording his hugely successful debut album, Tubular Bells.
To say that producer Chris Hughes was closely involved with Recording Adam & The Ants’ biggest records would be a bit of an understatement — he got so involved he joined the band...
In 1956, Frank Sinatra revived his flagging career with an album that would define the swing sound and go on to become one of the most highly regarded in history. John Palladino, now in his 92nd year, was at the controls...
For many, (What’s The Story) Morning Glory? is Oasis’s masterpiece. Producer and engineer Owen Morris tells us the story of its creation.
Although the shock value of its lyrics and ensuing censorship earned it notoriety, ‘Closer’ perfectly exemplifies Trent Reznor’s radical use of sampling and singularly focused musical vision.
The unlikely result of a collaboration between two 4AD bands, the release of ‘Pump Up The Volume’ by MARRS was a great day for house music and copyright lawyers alike.
'Parisienne Walkways' showcased Gary Moore's virtuoso guitar work and quickly became his signature song. Its recording also provided a young engineer at Morgan Studios with his first, unexpected production credit.
Recording the White Album was a major project by any standards, not least for Ken Scott, who, at the age of just 21, found himself engineering the biggest band in the world...
'I Wanna Dance With Somebody' was a huge global hit, but it also represented a tour de force in coaxing the perfect vocal from a singer, as explained by producer Narada Michael Walden.
Soft Cell's cover of 'Tainted Love' not only catapulted the duo to stardom in the UK, but also went on to spend a record-breaking 43 weeks on the American Billboard Hot 100 chart.
The story of Don McLean's 'American Pie' goes from cryptic beginnings to massive chart success, and an eventual position as a perennial US radio favourite.
Sinéad O’Connor ‘Nothing Compares 2 U’
Recording Sinéad O’Connor’s breakthrough hit was easy in some ways, but difficult in others — for example, all compression was forbidden...
The single ‘Downtown’ gave Petula Clark a worldwide hit and rejuvenated her career. Presiding over the session was engineer Ray Prickett, who tells us how it happened...
The Buggles' JG Ballard-inspired 'Video Killed The Radio Star' hit the number one spot in no fewer than 16 different countries, and confirmed Trevor Horn in his career as a producer in the process.
The haunting dub of ‘Ghost Town’ perfectly captured the mood of its time, and spent three weeks at the top of the British charts during the turbulent summer of 1981.
Elton John’s Goodbye Yellow Brick Road has proved to be one of his most popular and enduring works. The man at the controls, David Hentschel, tells us how it came to be.
But for the timely intervention of Mick Ronson, John Cougar’s celebrated portrait of small-town American life might never have existed at all, let alone topped the Billboard Hot 100.
Dr Alex Paterson tells us how the Orb’s cavalier sampling and devil‑may‑care attitude towards copyright took ambient house from the chill‑out room to the top of the charts.
As the ’60s came to a close, Marvin Gaye was forced to ask some serious questions about the world as he found it; the result was the sublimely soulful piece of social commentary, ‘What’s Going On’.
Jerry Lee Lewis’s raucous piano playing is the stuff of rock & roll legend, but his discovery and signing to Sun Records was the result of a series of lucky chances. Engineer Jack Clement tells us the story...
Producer: Flemming Rasmussen • Engineer: Flemming Rasmussen
...And Justice For All marked a turning point for Metallica — one that would launch the cult band into the mainstream. The man at the controls, Flemming Rasmussen, tells us how it happened.
'Teenage Kicks' was the punk-pop gem that, with a little help from John Peel, kick-started the Undertones' career.
'Take On Me' was a huge hit, but its birth was a difficult one, taking three years, three versions and a pioneering video to finally give A-ha their first chart success.
'Do you have the time to listen to me whine?' asked Green Day in the opening lines of their song 'Basket Case'. For 16 million people, the answer was apparently 'yes'...
A song named for Christmas-cancelling regicide Oliver Cromwell may seem like an unlikely hit, but the infectious ebullience of 'Oliver's Army' provided Elvis Costello with his biggest-selling single...
Protests against Catholicism have taken many forms, Martin Luther nailing his objections to the cathedral door, but the Pet Shop Boys chose to make theirs in disco...
• Producer: Julian Mendelsohn
• Engineers: Julian Mendelsohn, Stephen Hague
As the first issue of SOS hit the shops in October 1985, Talking Heads were already climbing towards their highest UK chart position. The song was 'Road To Nowhere'. Engineer Eric Thorngren tells the story of its recording.
• Producer: Talking Heads
• Engineer: Eric Thorngren
Producer: Bill Szymczyk
1977's Hotel California saw The Eagles abandon their country origins in favour of full-blown rock & roll, and made them one of the biggest-selling groups in the world. Producer Bill Szymczyk tells SOS how it happened.
Producers: David Crosby, Stephen Stills, Graham Nash • Engineer: Bill Halverson
As the 60s drew to a close, David Crosby, Stephen Stills and Graham Nash came together to form a new group, the unique sound of which was perfectly demonstrated by their first recording, Suite: Judy Blue Eyes.
Producer: Martin Rushent • Engineer: Martin Rushent
When producer Martin Rushent took the Human Leagues leaden new song and turned it into pop gold, the band hated it — but that didnt stop it from being a number one hit on both sides of the Atlantic...
Producer: Tommy James • Engineer: Bruce Staple
In 1968, Tommy James made a dramatic stylistic turnaround, swapping bubblegum pop for full-blown psychedelic rock. The result was the superlative single Crimson & Clover.
Producer: Bob Johnston
It took a while for Bob Dylan to hit his stride on his seventh studio album, but once he did there was no stopping him. Producer Bob Johnston recalls the difficult birth of Blonde On Blonde.
Producer: George Avakian • Engineer: Frank Laico
In 1956, Miles Davis was at Columbia Studios to record an album with the musicians who subsequently became known as his First Great Quintet. Engineer Frank Laico was at the controls...
Producers: Jon Landau, Chuck Plotkin, Bruce Springsteen, Steve Van Zandt • Engineers: Toby Scott, Bob Clearmountain
Seven top 10 singles isnt bad going for a career, let alone one album, yet thats precisely what Bruce Springsteen achieved with his smash hit 1984 LP, Born In The USA. This is the story of how it was made...
Producers: Ritchie Cordell, Kenny Laguna, Glen Kolotkin • Engineer: Glen Kolotkin
Joan Jetts heartfelt reworking of the Arrows I Love Rock & Roll became an international hit in 1982 and turned her career around. Glen Kolotkin tells us how it happened.
Producer: Todd Rundgren • Engineer: Jack Douglas
The fact that they achieved little commercial success didnt stop the New York Dolls from making one of the most influential albums in the history of pop music.
Producers: REM, Mitch Easter, Don Dixon
REMs first single wasnt just an embryonic form of the style and sound that would later make them so successful, it was also a gem of the American new wave. But it took a long time coming...
Producers: Giorgio Moroder, Pete Bellotte • Engineer: Juergen Koppers
The pioneering electronica of I Feel Love didnt just revolutionise disco, it changed dance music forever. This is the story of how it was made...
Producer & Engineer: Shel Talmy
There are very few records whose influence can be so strongly felt after 45 years as the Kinks You Really Got Me. At the controls was Shel Talmy, who tells us the story of a song that changed pop music.
Producer: Tony Clarke • Engineer: Derek Varnals
Thunderous reverbs, haunting vocals and Mellotron galore: we tell the story of recording the Moody Blues symphonic rock masterpiece, Nights In White Satin.