After more than 20 years together, the musical relationship between Joey Burns and John Convertino continues to produce the goods
Spring 2018
Articles
Music editor Damien Girling explores the scene, songwriters, albums and equipment that helped create the sound of late-80s indie rock
- 30 Mar 2018
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How I wrote ‘Big In Japan’ by Alphaville
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How I wrote 'Handbags And Gladrags' by Mike d'Abo
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How I wrote 'Dakota' by Stereophonics' Kelly Jones
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How I wrote 'The Life Of Riley' by The Lightning Seeds' Ian Broudie
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How I wrote ‘Big In Japan’ by Alphaville
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How I wrote 'Handbags And Gladrags' by Mike d'Abo
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How I wrote 'Turning Japanese' by The Vapors' David Fenton
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How I wrote ''74-'75' by The Connells
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How I wrote 'Zombie' by The Cranberries' Dolores O'Riordan
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Interview: Stereophonics' Kelly Jones
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How I wrote 'Enola Gay' by OMD's Andy McCluskey
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How we wrote: 'Eyes On Fire' by Blue Foundation's Tobias Wilner
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How I wrote ‘Big In Japan’ by Alphaville
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How I wrote ''74-'75' by The Connells
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How I wrote 'Handbags And Gladrags' by Mike d'Abo
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How I wrote 'Dakota' by Stereophonics' Kelly Jones
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How I wrote Art Garfunkel's 'Bright Eyes' by Mike Batt
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Song-by-Song 'In Spite Of Everything, The Stars' by Lein Sangster
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How I wrote 'Luka' by Suzanne Vega
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How I wrote 'Iris' by Goo Goo Dolls' John Rzeznik
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How I wrote 'Turning Japanese' by The Vapors' David Fenton
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How I wrote 'Luka' by Suzanne Vega
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How I wrote ‘Beds Are Burning’ by Midnight Oil’s Rob Hirst
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How I wrote 'Enola Gay' by OMD's Andy McCluskey
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How I wrote 'Food For Thought' by UB40's Robin Campbell
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How I wrote Art Garfunkel's 'Bright Eyes' by Mike Batt
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How we wrote 'Stay Another Day' by East 17's Tony Mortimer
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How I wrote 'Zombie' by The Cranberries' Dolores O'Riordan
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