Vocalist Mick Hucknell sings out about white boys singing the Blues

Fritz McIntyre - the key is simplicity

The Composer's Tale

Although it's Brian Eno who springs to mind when most people think of ambient music, brother Roger's particular talents have both complemented Brian's atmospheric experiments and generated memorable solo work. Mark J. Prendergast talked to him as he completed his latest project.

Chas de Whalley, Paul Stavely O'Duffy, and the Get Down Mixdown Factor.

Paws for thought

An Audience With Aziz

Leading session guitarist Aziz talks to John Harris about playing, recording, and hi-tech guitar processors.

Meeting the music business and business of making music on their own terms saw one London band building a studio as well as a reputation from the ground up. Simon Trask gets in deep with Double Trouble.

Simply Red: Two Shows In One

Live Music for the Hi-Tech Musician

The Mix's terrestrial bulletin board

Tittle-tattle on the hurly-burly

The Pepys of the music world writes another chapter

Go straight to this page if you like a good gossip.

The month - this month

Britannia Row

A major hire company of legendary status

This month’s information bulletin board

A nostalgic look back at 1985 by the people who bring E&MM to you each month. Was it really that bad?

Manchester School Of Sound Recording

A course in recording provides a way of breaking out of the classic Catch 22 — you can't get studio work without experience, and can't get experience without work. Tim Hurrell reports on the Manchester School Of Sound Recording and what their 1-year course has to offer.

Right Royalty Rip-Off

Jean-Michel Jarre In Concert

We go backstage at Jarre's recent Wembley extravaganza to see how the show sound was put together.

Later with Jools Holland

Behind the scenes at TV’s premier music show

For Recording Engineering

Educated sound engineer David Mellor assesses the value of training for a career in recording.

What A&R Managers want from your demo

For many musicians, their first stab at getting their music heard is sending a demo to a record company or producer. But what do the people who listen to demos every day want from your tape? Sue Sillitoe finds out.