Achtung Baby is now acclaimed as U2’s finest achievement, but the 1991 album nearly didn’t get made. In fact, its beginnings nearly split the Irish band apart.
Reverend And The Makers’ guitarist goes it alone on a debut solo album that pays homage to two of his esteemed Sheffield peers yet achieves a charming elegance all of its own.
Ryley Walker puts down his Guild acoustic and goes prog on album five, although dragons and magical mushrooms are mercifully conspicuous by their absence.
R.E.M. were exhausted when they started writing the follow-up to 1989’s Green. By the time they’d finished, they had their first No. 1 record – and a pair of unforgettable hit singles – on their hands.
The Devon songwriter has travelled further from the safe nu-folk of his debut album with each subsequent release. That journey continues as he introduces a new producer on ‘Collections From The Whiteout’.
After 2019’s gritty and vibrant Norman Fucking Rockwell!, Lana Del Rey puts a fresh spin on her folk-based roots with her new album which is laced with Americana flair.
Slint’s second and final LP somehow became one of the most influential guitar albums of recent times, spawning multiple genres in the course of its six tracks.
Considered an atypically ‘pop’ experiment and even doubted by its own author, Polly Jean Harvey’s fourth album was nevertheless her biggest UK album. Isn't it time it’s considered simply a great record?
